London, National Gallery, Saal 43

Position London, National Gallery
Künstler in London, National Gallery, Saal 43
Nur hier
Andreas Schelfhout
1787 Den Haag - 1870 Den Haag
Nur hier
Carl Blechen
1798 Cottbus - 1840 Berlin
Nur hier
Édouard Bertin
1797 Paris - 1871 Paris
Nur hier
George Augustus Wallis
1761 Merton - 1847 Florenz
Nur hier
Gilles-François Closson
1786 Lüttich - 1842 Lüttich
Nur hier
Jean-Antoine Constantin
1756 Bonneveine - 1844 Aix-en-Provence
Nur hier
Jean-Michel Cels
1819 Den Haag - 1894 Brüssel
Nur hier
Pierre-Henri de Valenciennes
1750 Toulouse - 1819 Paris
Nur hier
Ramsay Richard Reinagle
1775 London - 1862 London
Nur hier
Thomas Fearnley
1802 Fredrikshald - 1842 München
Nur hier
Thomas Jones
1742 Trefonnen, Wales - 1803 Pencerrig, Wales
Nur hier
Thomas Kerrich
1748 Dersingham - 1828 Cambridge
Nur hier
Vilhelm Petersen
1812 Kopenhagen - 1880 Kopenhagen
Kunstwerke (1632–1855)
Fourvière in Lyon, London, National Gallery, Saal 43, um 1780
Unbekannter Künstler
um 1780
Himmel bei Sonnenaufgang, London, National Gallery, Saal 43, 1821
Unbekannter Künstler
London, National Gallery, Saal 43 (Inventar-Nr. NG6676)
1821
Ausgrabung des römischen Theaters von Orange, London, National Gallery, Saal 43, um 1853–1857
Unbekannter Künstler
um 1853–1857

LANDSCAPE PAINTING IN EUROPE IN THE NINETEENTH CENTURY

Artists painted oil sketches in the open air, on paper or small panels at least as early as the seventeenth century. By the late eighteenth century, the practice was widespread across Europe, but the undisputed centre was Italy, renowned for the quality of its light, its scenery, and its ancient ruins. Many artists congregated in Rome, from where they would set out for the Roman Campagna and picturesque sites such as Tivoli.

By the 1830s painters were exploiting the scenic possibilities of their own countries. By this period the sketching tradition in the open air had developed into 'finished' naturalistic landscape painting, executed both out of doors and in the studio. Depictions of mountains, trees and waterfalls were considered legitimate subjects in their own right.

London, National Gallery, Saal 43
London, National Gallery, Saal 43, Bild 1/3
London, National Gallery, Saal 43, Bild 1/3
London, National Gallery, Saal 43, Bild 2/3
London, National Gallery, Saal 43, Bild 3/3

In Vorbereitung: Paris, Musée d’Orsay; Paris, Musée des Arts décoratifs; L'Aquila, Museo Nazionale d'Abruzzo; Ascoli Piceno, Pinacoteca civica

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