35 View Wallpaper in Nature for Pc and Mobile

35 View Wallpaper in Nature for Pc and Mobile

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What is the view? Usage in Picture

Graphic or pictorial representation of nature (also called landscape). The development in the form of an aesthetic species at a time when the landscape as a copy of reality or as a fictitious figure in the Western picture, from the first "magical" function of art (wall paintings in Lascaux and Altamira caves) and away from the antiquity's particular decorative purpose (paintings in Paestum and Pompei) and in the Middle Ages he tried to make himself accepted as an increasingly direct expression of the audible world against symbols of Christianity. The natural beauty sense gradually began to gain importance. XIV. Some details in the frescoes of Ambrogio Lorenzetti in the 19th century are clear in detail (Jobs in the Fields: Good Management, detail, circa 1338-1340).

View for The Van Eyck


The traditional hobby of the aristocrats was the subject of many artists; Artists such as the Limbourg brothers (Psalms of the Book of Berry, 1409-1416), Pisanello (Saint Eustachius), Paolo Uccello (Ormanda Av) were able to put away the symbolic tradition of the Middle Ages by revealing their interest in rural life and forest. A new era was slowly beginning to break my bonds with soul: In 1432, Van Eyck included an image of the Garden of Eden in his Mystic Lamb; where the image first extended to a horizon under the lights of a world that was not very different from what we were living in.

View for The Bellini And Bruegel


Pollaiolo showed intense curiosity about nature in the composition of Saint Sebastianus's martyrdom of religion (1475); Piero Della, on the other hand, was the hallmark of Francesca's funding and light influences. But the effects of Van Eyck did not appear in Florence, but in Venice: Giovanni Bellini, master of Giorgione and Tiziano, illuminated objects and assets with a real daylight (Land of the Virgin), making use of the Flemish style. Bellini's influence on Dürer (View of Val d'Arco) was at least as deep as Mantegna's. After Bellini, it passed through Tiziano in Italian painting, to Giorgione's Veronese, backgrounds). However, XVII. Up until the middle of the 19th century, great artist Pieter Bruegel, who gave a natural expression to the landscape in Europe. Before that, the compositions with a view of Hugo van der Goes (the right wing of the Portinari Trio, 1476) undoubtedly lacked realism, with the strange and crazy images of Hieronymus Bosch in the background (Epiphaneia Tigers, 1510); but in these products, the concept of space, which does not allow for the direct and complete expression of the sense of reality, has yet to be escaped. Bruegel's contemporary Italian painter Niccolo dell'Abate (Landscape with Orpheus and Eurydice) painted an attentive ideal; the origin of it was Leonardo da Vinci's interest in the fantastic and distant cliffs (The Rocks Bakery). Among the great masters of Florence's paintings are only Leonardo da Vinci,
Rubens

Towards 1600, the tradition of landscapes in the attentive direction of Europe came to an end. Twenty-four years later, the Flemish painter Rubens performed very beautiful landscapes (mentioning the Storm Landscape with Philemon and Baukis, circa 1624-1625), but until these works were of the natural origin of the citizens of Bruegel, Gillis van Coninxloo (1544-1607), Paulus Bril (1554-1626), joost De Momper (1564-1635), as well as the attraction of landscape painters.

View for Netherlands Formal Light



XVII. The best Dutch landscape painters who lived in the 19th century are well-versed in the art of "recalling that I have never been in motion of the light and the shadow", which Constable adopted as a basis for reflecting nature on canvas, and the realistic view of the Dutch painting (which influences the naturalness of Bruegel) it is totally different from the original one) XIX. YY. it is not at all unrealistic for landscape painters to be so influential. Born in the Netherlands, the way the light conveys the most escaping delusions to the painting reflects the desire to capture the fact that the technical mastery it requires, from the obtuse path, and above all, to the theological orders of the "art for art" principle in the future.

The diversity of inspiration in a number of important landscape paintings performed by painters of various temperaments such as Hercules Seghers, Rembrandt (1643), Jacob van Ruysdael (Shrub, 1647, Storm) exceeds the limits of Dutch naturalism.
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