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Bigger Trees Near Warter or ou Peinture en Plein Air pour l'age Post-Photographique is a large landscape painting by British artist David Hockney.Measuring 460 by 1,220 centimetres or 180 by 480 inches, [2] it depicts a coppice near Warter, Pocklington in the East Riding of Yorkshire and is the largest painting Hockney has completed.
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 ...
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 ...
Landscape photography (often shortened to landscape photos) shows the spaces within the world, sometimes vast and unending, but other times microscopic. Landscape photographs typically capture the presence of nature but can also focus on human-made features or disturbances of landscapes.
The aerial cloudscapes painted by Georgia O'Keeffe in the 1960s and 1970s are a special case. Many of them are not landscapes at all, since they don't show any land. They depict images of clouds viewed from above, suspended in blue sky, with the land below nowhere to be seen; it is the view of clouds regarded at a downward and sideways angle, as from the window of an airplane.
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Pieter Bruegel the Elder, Landscape with the Flight into Egypt, 1563, 37.1 × 55.6 cm (14.6 × 21.9 in). The world landscape, a translation of the German Weltlandschaft, is a type of composition in Western painting showing an imaginary panoramic landscape seen from an elevated viewpoint that includes mountains and lowlands, water, and buildings.
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 ]
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