“Research artists from different eras who use landscape as their main subject.”
Albrecht Dürer (1471-1528)
Durer was born in Nuremburg, and used watercolour to paint representational landscape paintings, adopting ideal proportions and maths within his compositions, thus making him one of the most important artists of the Northern Renaissance.
Dry dock at Hallerturlein seems bland and rather dull but then the range of pigments would have been limited by modern standards. The sky shows very little by way of contrast and definition, and despite the medium used, it looks more like a drawing with a wash than the painterly watercolour landscapes we are used to.
https://www.albrecht-durer.org Accessed 03/01/18
Claude Lorrain (1600-1682)
Originally from France, Lorrain moved to Rome and became one of the most popular artists of the French Baroque. He was an excellent draughtsman and his landscapes influenced the Romantic artists who followed him such as Turner, Constable and Palmer.
These landscapes differ to those of Dürer in that firstly, they are oils rather than watercolour and thus have more contrast – most of the paintings show a dark dramatic foreground with trees and people, middle ground with buildings, and a piercing light emanating from the distance illuminating the clouds and sky. This collection of paintings from the National Gallery show his Classical composition and pastoral scenes.
https://www.artble.com/artists/claude_lorrain Accessed 03/01/18
L.S. Lowry (1887-1976)
Lowry’s roots in the North West of England clearly influenced his portrayal of urban life in his famous and characteristic cityscapes. His desire to show the realism of life in a busy town with the array of characters very much in evidence has similarities with the Impressionists I saw at Tate Britain a few weeks ago. They, too, showed bustling cities “warts and all” with fog, workmen and the less romantic side of London.
I like his paintings and find the tone and simplicity strangely melancholy in spite of the bright colours. I prefer his pictures of buildings such as “The Old House, Grove Street, Salford” 1984 to his more expansive paintings as I prefer the intimacy.
http://www.tate.org.uk/whats-on/tate-britain/exhibition/lowry-and-painting-modern-life Accessed 04/01/18
George Shaw (1966-)
Turner Prize nominee is from Coventry, who studied at Sheffield Polytechnic and then the RCA. He uses Humbrol paint – more commonly used for models – to paint scenes of ordinary places which look almost hyper-realistic. However, despite their mundane subject matter, there is an atmosphere and an energy which makes the scene look as if something is about to happen; it’s poised and there’s a human presence even with no people present in the picture. It also shows a rather seedy reality of our interaction with the landscape and really like that.
“Scenes from the Passion: The Path to Pepys Corner” is one such landscape painting which shows this to good effect.
https://www.theguardian.com/artanddesign/2016/may/15/my-back-to-nature-george-shaw-national-gallery-tile-hill Accessed 04/01/18
Sarah Woodfine (1968-)
I’d not heard of Sarah Woodfine but as with many aspects of this course, I’m pleased I’ve had the chance to investigate! Originally a sculptor, her artwork is often made of 3-D constructions with a nod to cardboard theatres or pop-up books. Her drawings are made in pencil and have the precise clarity of an architectural drawing, albeit with more fantastical imagery. I like “Newfoundland” 2004 as it seems so mystical. It appears to be on display at the V&A so I shall go and find it next time I am in the area!
http://www.vam.ac.uk/content/articles/n/newfoundland-by-sarah-woodfine/ Accessed 04/01/18