cape in the background, in the style of Venetian and Florentine paintings of that era. His later works became more expressive and more detailed. He also spent time observing nature at close hand, animals and plants in particular, see his young hare.
His eye for detail led to the exploration of perspective and proportion, resulting in several publications, among them a treatise on fortifications, the first printed book of its kind, using advanced perspective ideas such as bird’s eye views. His woodcuts revolutionised printmaking, elevating it to an independent art form. His tonal range added a dramatic element to the previously flat lacking texture and tone.
In the seventeenth century Lorrain became known for his idyllic landscapes based on classical proportions and references to mythology. He extended the concept of landscape by adding biblical and mythological characters thereby giving it historical significance and raising its importance. His figures are classically dressed, set in pastoral settings, representing man in harmony with nature.
This is one of his most famous works, The Father of Psyche sacrificing at the Temple of Apollo, the landscape clearly dominates the scene, the huge trees overshadowing the picture.
He travelled from his native France, spending time in Italy in the hills around Rome. He was noted for his draughtsmanship, showing an eye for detail and carefully planned composition, yet his sketchbooks were filled with realistic detail.
He was meticulous in his work, making copies of all his paintings into a ‘liber veritatas’, in order to defeat forgers, but also as a personal reference and source book. He inspired Turner, Constable and Keats and even influenced the design of many English gardens.
Whilst his style and subject matter are consistent his compositions become increasingly complex. His earlier works are described as charming and picturesque, yet as he matured they become more classical in tone and theme.
His work reflects his appreciation of light and its many effects, almost all of his work shows dawn and twilight, the most poetic times of day. Like Durer he observed nature closely showing a naturalistic style and yet his vision is nostalgic, almost dreamlike, and serene.
L. S. LOWRY
Known for his industrial landscapes, Lowry’s works are very familiar to those who grew up in the North of England. I certainly was aware of Lowry’s ‘matchstick men’ before I understood the concept of landscape painting. See Industrial Landscape, 1955
Although his works were imaginary, they showed panoramic cityscapes, which contained recognisable places such as Stockport Viaduct. He gave a generalised impression of urban environments, dominated by the less attractive city elements such as smoking chimneys, and industrial wastelands.
His earlier work was similar to the Impressionists but without the light which made them brooding in atmosphere, the people like worker ants, faceless, almost non-human. Often described as ‘lonely landscapes’, they were empty, desolate views of Cumbrian hills, grey and bleak landscape.
He said “my ambition was to put the industrial scene on the map, because nobobdy had done it – nobody had done it seriously²”. His pictures unsettle the myth of the land of hope and glory, it’s a commentary on how the wealthy depend on the ceaseless labour of the poor, the human condition of repeated work until death. This is shown through the rigid, faceless figures, the huge dominating factories, drab housing and bleak atmosphere. Yet throughout the bleak imagery there are flashes of detail, bright colour, flowers in a window, or someone waving or whistling, a sudden break in the routine.
Born in the Midlands, he is known for painting the urban estate where he grew up in 1970’s Britain. His style is highly detailed and naturalistic, but his subject matter is one of English suburbia, the mundane and the overlooked. It’s a nostalgic view, looking back on a simpler time, no people are present but we somehow still feel their presence. “To me, they are teeming with human presences. The people I grew up w