landscape Painting

Mower - landscape Painting

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Many of us will be tempted to think that landscape painting is an exact replication of the landscape an artist sees right before him. The exact numbers of bodily features such as hills, the exact amount of living features such as plants or humans, and the exact character of abstract elements such as sunlight or rain. This, however, is never the case. Just like any other painting, which involves the artist's personal intuitions, a landscape painting is an expression of what the artist wants to see. And contrary to the favorite confidence that landscape paintings are made outdoors, artists commonly prefer to do their work indoors. They commonly make rough sketches outdoors, and then fill out the painting more moderately in their studios.

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No matter where they pick to paint, there is one issue they all need to deal with while painting landscapes: depth. How does one show depth on a flat canvas? You will find the use of a winding path, a turn in the size of things to make them appear closer or further, the use of overlap, a turn in the sharpness of images, or the use of diagonal composition.

George Catlin, Albert Bierstadt and Thomas Moran were three supreme American painters who used the above techniques to paint magnificent American landscapes. Catlin made two paintings of the same landscape, and called it River Bluffs. He said that these were the toughest paintings he made, because there was nothing in the landscape to arrest the eye, there were just hills hundreds of feet high, covered in green, for about twenty or thirty miles.

Thomas Moran's The Chasm of the Colorado is a huge and very supreme landscape painting of the Grand Canyon. One look at it, and we might be tempted to think Moran easily saw this site before him. It was, however, the result of a quiet, relentless effort in the artist's studio, of Moran putting together any small sketches he made while on a trip to the Grand Canyon.

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