# A New approach to landscapes

Anne-Céline Callens

► To cite this version:

Anne-Céline Callens. A New approach to landscapes. Feng Yuan (dir.). From Monet to Soulages: paths of Modern Western painting, Tsinghua University Art Museum, pp.2-3, 2017, 978-73-02-48733-3-hal-04619439

HAL Id: hal-04619439

https://hal.science/hal-04619439v1

Submitted on 25 Apr 2025

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1800 — 1910

对风景的新感知

A NEW APPROACH TO LANDSCAPES
# 对风景的新感知

安-赛琳·卡伦

受到17世纪荷兰风景画和19世纪初期英国风景画的影响,19世纪的法国画家们探索出一种感知自然的新方式。写实主义者逐渐将注意力从意大利古典主义转向自身周围的环境,他们在创作中尽可能地接近自然。正如古斯塔夫·库尔贝所说,“自然的美胜于艺术家能想到的一切”。

作为对工业化及法国自然景观再发现的回应,古老广袤的森林成为备受青睐的主题。一些艺术家离开巴黎并将自己的工作室安置在枫丹白露的森林里,巴比松镇由此成为活跃的艺术阵地,让-巴蒂斯·卡米耶·柯罗、夏尔-弗朗索瓦·杜比尼、让-弗朗索瓦·米勒和泰奥多尔·卢梭在这里聚集并成立了风景画家的“巴比松画派”。在1825至1875年间,世界各地渴望研究自然的艺术家也纷纷加入其中。

随后,印象主义画家将他们的画架搬至所画主题前,这彻底改变了绘画的习惯准则。克劳德·莫奈的《睡莲》就是这种新方式的体现,它预示着20世纪中叶艺术家们所进行的各种抽象实践。

和保罗·西涅克一样,阿尔伯特·杜波依斯-皮勒使用分割法,结合视觉领域的科学发展,在画布上尽可能呈现真实的风景。《贝勒岛的城堡》是亨利·马蒂斯转型时期的作品,这一时期引发了他在图形和色彩处理上的巨大转变。同一时期,象征主义画家亚历山大·塞昂通过随心所欲的色彩创造着想象中的风景。
# A NEW APPROACH TO LANDSCAPES

Anne-Céline Callens

In the nineteenth century, under the influence of Dutch representations of landscapes in the seventeenth century and of English techniques from the start of the nineteenth century, French painters explored a new approach to nature. Gradually, realists turned away from the classicism of Italy to focus on their own surroundings. They tried to get as close to nature as possible in their work. As Gustave Courbet put it, "the beauty of nature exceeds anything an artist could imagine".

In response to the emergence of industrialisation and in connection with the rediscovery of nature on French soil, the majestic forests and ancient woodlands became a popular motif. Some artists left Paris to set up their workshops in the forest of Fontainebleau. The village of Barbizon became a buzzing artistic hub. Jean-Baptiste Camille Corot, Charles-François Daubigny, Jean-François Millet and Théodore Rousseau created a colony of landscape painters there: the "School of Barbizon". Between 1825 and 1875, they were joined by foreign artists from different corners of the world who wanted to study nature.

Later, impressionists installed their easels in front of the subject, completely revolutionising the painting codes. With *Water Lilies*, Claude Monet paved the way for this new approach, heralding the abstraction and practice of the "all over" method, associated with artists from the mid-twentieth century.

Like Paul Signac, Albert Dubois-Pillet used the divisionist technique, in conjunction with scientific progress in the optical field, to reproduce landscapes as closely as possible on the canvas. The *Citadel of Belle-lle* illustrates the period of transition in Henri Matisse's journey which triggered the radical schematisation of shapes and coloured plans. During the same period, the symbolist Alexandre Séon created imagined landscapes using arbitrary colours.