![]() Picturesque art followed in its predecessors footsteps in that the subject remained the same, whilst the way of seeing and portraying the landscape changed into something other than the rational and realistic. Classics such as Virgil and Homer were increasingly moved aside for local genius such as Shakespeare and Milton and the inability to travel abroad diverted traffic closer to home, not only feeding the economy but also contributing extensively to new sentiments towards local and native scenery. Britain’s impatience for the Academic’s reverence of foreign cultures manifested alongside several important changes in society all pointing closer to home. This time coincided with the Picturesque Movement’s formative years along with the growth of Britain’s economy and political stability in a time of uncertainty on the continent, which eventually turned into a series of wars. Īlthough the Academic style of landscape painting would remain ossified until the late nineteenth century, it began to feel increasing pressures by about 1750. Secondly, (and partially related to the first) the tourist-artist despite his/her acclaim for native beauty in their paintings would do so by ‘invoking upon idealised foreign models’ such as pastoral Augustan poetry and/or works by masters such as Claude, Dughet (for the Academic style) or Ruisdael (for the Dutch). Out of the desire to capture the ‘landscape’ emerged two paradoxes firstly, that the tourist-artist albeit wanting to discover Nature ‘untouched by man’ could not resist improving what lay before him/her-even if only in the imagination. Īs previously mentioned, it emerged as a method in which to look at and draw upon the surrounding scenery. Less fundamental yet still valid were other contributions from parallel subjects that interconnected on certain aspects, particularly those of poetry, philosophy, gardening and architecture. It would largely be the contributions of Uvedale Price that would set out to do this along with Richard Payne Knight who further supplemented these contributions by including the ‘theory of association’. ![]() William Gilpin who albeit was the first to use the word ‘picturesque’ failed to truly define its aesthetic as anything other than beautiful. The first person to have created the genre of Picturesque was Rev. It flourished between 1770-1830 and was developed through the awakening sensibilities of a few who responded to the natural world around them by realising that some things were not just beautiful or sublime but could be a mix of both and still appealed to the senses in an ‘odd yet delightful way’. The Picturesque, from ‘pittoresco’-to have features like those of an artist’s work-was a Movement that emerged in Britain in about 1750. The Picturesque The Picturesque: Examining the development and proliferation of the ruin in the British Landscape Painting (1770-1830) ![]()
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