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Landscape painting in Scotland; Landscape with a Castle; Landscape with a Church at Twilight; Landscape with a Cottage and Trees; Landscape with a Mountain Pass; Landscape with a Pig and a Horse; A Landscape with a Ruined Castle and a Church; Landscape with a View of the Sea at Sunset; Landscape with a Windmill near a Town Moat; Landscape with ...
A Storm in the Rocky Mountains, Mt. Rosalie is an 1866 landscape oil painting by German-American painter Albert Bierstadt (1830–1902) which was inspired by sketches created on an 1863 expedition. Bierstadt traveled to the Colorado Rocky Mountains where he was taken up to the Chicago Lakes beneath Mount Blue Sky .
Landscape painting, also known as landscape art, is the depiction in painting of natural scenery such as mountains, valleys, rivers, trees, and forests, especially where the main subject is a wide view—with its elements arranged into a coherent composition. In other works, landscape backgrounds for figures can still form an important part of ...
Robert William Wood (March 4, 1889 – March 14, 1979) was an American landscape painter. [1] He was born in England, emigrated to the United States and rose to prominence in the 1950s with the sales of millions of his color reproductions. [2]
Landscape paintings (23 C, 358 P) L. Landscape painters (5 C, ... Pages in category "Landscape painting" The following 10 pages are in this category, out of 10 total.
The view Cole sought to paint was a particularly difficult one, as its panoramic breadth extended beyond the width of typical landscape paintings of the period. [1] To solve this problem, Cole stitched together two separate views from Mt. Holyoke, creating a synthetic, rather than a faithful, image of the scene. [ 7 ]
Wanderer above the Sea of Fog [a] is a painting by German Romanticist artist Caspar David Friedrich made in 1818. [2] It depicts a man standing upon a rocky precipice with his back to the viewer; he is gazing out on a landscape covered in a thick sea of fog through which other ridges, trees, and mountains pierce, which stretches out into the distance indefinitely.
Following months of correspondence, Paul Gauguin joined van Gogh in Arles in October 1888. Both were intent on depicting a "non-naturalist landscape". These two paintings, emphasizing the artist's Post-Impressionism emotional style, rather than being a pure representation of nature are among the first works that Van Gogh painted following Gauguin's arrival.
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