In the Middle Ages it was considered that the nature couldn’t become a picture theme. Usually landscapes appeared on cloths as a background for any historical scene. Sometimes the landscape consisted only of several rocks — one guide on painting of XIV century even advised to artists to heat up rocks on the background. But in XVI-XVII centuries the relation to landscapes began to vary.
In XV century artists have started to comprehend prospect laws. This revolutionary opening has allowed them to represent space more precisely. Hence, they could create more realistic landscapes. It gradually began to appear pictures, where the landscape played more important role, than people, and even pictures, where at all there were no people.
To seventeenth century the nature became a popular theme in painting, and a landscape — a full genre. Artists, especially in Northern Europe, created a large quantity of landscapes — from imagined idyllic scenes to the most detailed kinds of real places.
The first landscape writers did not create a picture directly outside on the nature. Having made some sketches, they came back in studio and already finished the work there. But in the middle of nineteenth century there was a fashion to write pictures in the open air. Artists were inspired by a changeable play of light and the atmospheric phenomena, and they aspired to write landscapes directly “from nature”.
Eventually the relation of artists to landscapes varied not less, than landscapes. For last century there were especially many various styles — from frightening urban landscapes of cubists and lyrical city images to “land-art” (artists of this direction work with a landscape, using for creation of the works the ground, stones and other natural materials). As a source of inspiration for artists of “land-art” serves the surrounding landscape, and their products become its part then.
Still life works.
The still life is an image of motionless objects, such, as flowers or fruit, musical instruments etc.
Till the end of nineteenth century main principles of creation of still life works were defined by aspiration to make them, as it is possible realistic. And artists have reached such skill in it that could represent everything — from a bunch of grapes, which looks so realistic, to jugs and bowls which, apparently, go beyond from a picture plane.
Creation of a still life works demands the big skill. It is necessary for artist to make an interesting composition, to show light, the texture of subjects. Such pictures force you to believe that you look at real volume subjects, instead of on the plane covered with paint. However, critics up to nineteenth century scornfully concerned still life art — they saw only practice in the picturesque techniques in it.
The still life can be the simple image of subjects, and can comprise any hidden sense. Artists often make a composition expressing certain ideas. So, books symbolize knowledge, musical instruments — pleasure, and skulls, trembling body of flame or decaying fruit urged to remind of death. Pictures with the hidden symbolical sense are called as allegories. Allegorical pictures became so popular that some artists almost have completely devoted themselves to this genre.
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