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Landscape Painting: A History

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Product details

Hardcover: 416 pages

Publisher: Abbeville Press; 1 edition (October 1, 2006)

Language: English

ISBN-10: 0789209020

ISBN-13: 978-0789209023

Product Dimensions:

11.2 x 1.8 x 13 inches

Shipping Weight: 8.3 pounds (View shipping rates and policies)

Average Customer Review:

3.8 out of 5 stars

5 customer reviews

Amazon Best Sellers Rank:

#1,215,836 in Books (See Top 100 in Books)

As an academic, landscape architect, and amateur landscape painter, I find it interesting what others may say about the subject, because personal experience, training, and culture guide what is presented and not presented-- any book often says more about the paradigms and perspectives of the authors then about the actual subject they are writing about. It is not easy to write a history of such an extensive subject. If one has never thought much about the subject, one will learn about the general trends and the basic evolution of landscape painting from a Western perspective. To learn the nuances of landscape painting, its diversity, influences, and approaches is a lifetime of exploration. I can understand why Canadians often feel ignored. Historic and significant landscape painting by the Group of Seven, Tom Thomson, and Emily Carr were not included. As an American, these Canadian paintings energized me as a teenager to strive to see landscape in a different way and were much more influential for me then European painters from any period. And as an American from the center of North America, the en plein air paintings of George Catlin integrating exploration, anthropology, and landscape painting together was especially influential. The paintings and large dioramas by Francis Lee Jacques depicting landscape accurately and scientifically, blending landscape painting with wildlife painting were also extremely formative, but the book does not cover such details. Being a landscape architect with a passion for landscape, it is interesting to see how slowly landscape painting unfolded in the West and as an expert in Chinese landscape architecture and author of a history of landscape architectural history book, how much more advanced Chinese landscape painting was over landscape painting in the West by over 1,000 years (but ignored in the book). Still, this book is a good place to start, getting an overview of the well accepted cannon of landscape painting and I am pleased to have this contribution in my personal library. But everyone should remember, this is just a place to start. One should keep learning, exploring, experiencing and developing a personal perspective on the subject. And it is interesting to see how the significant paintings and painters presented in the book are not necessarily the paintings that actually influenced designers of landscapes. The book reminds me of the readings that I did as an undergraduate taking courses in architectural history, as I developed my own understanding of landscape and visited these historic sites, I had a completely different impression concerning the merits and shortcomings of these buildings. For those interested in landscape painting, one may experience a similar evolution-- but first, start with this book.

I had to get this for a class in Renaissance Landscape Painting. It is okay, it feels like a museum catalogue that goes through things in a very brief way, centering on particular pieces rather than a whole overview of the media and time period and whatnot. Very much like a museum catalogue. I would recommend it only if it was a quarter of the price or less. Definitely not worth the money.

I ordered this book because of the scholarship, not the reproductions. Ironically, I am going to only address the color plates in this review. After its arrival, I realized it is very much about the reproductions. It is large, very heavy and is mostly pictures rather than text. That is very generous on one hand but at a price. But the cost is reason to not just buy out of impulse. It is currently new online for at little as $65 to $92, and is $135 (list price) largely because of the enormous costs per unit in printing so many reproductions at such a large scale. The people who did the separations, the book design and production team as well as the level of printing are all top notch. The quality of the paper and of the printing are superb--no question. Nonetheless, none of them create the content and that is the problem.Unfortunately, in my opinion, success did NOT result in over half of this giant's reproductions so I must politely disagree with my fellow reviewers. Too many reproductions do not look remarkably like the original paintings and too many do not stand on their own as good reproductions apart from their verisimilitude. Let's say, at minimum that there is simply a difference of opinion here. It matters because, I think you should not buy the book unseen. The reason why the book does not reach its full potential is, for the most-part, caused by the uneven quality of the files and film supplied by the many museums of art who own the wide range of paintings they granted permission to reproduce here for a fee. You can see the same problems repeat. Alas, when so many paintings have many of the same sophisticated challenges in recording with fidelity everything that stands for a work of art including their difficult printable range --from highlights in the clouds to darkest shadows-- all those heavy greens, browns and dark blues, it seems that the photographs used for these reproduction did not, or possibly could not, capture quite enough to be convincing - to me. For example, the shadow details lost in far too many. In the Baroque group alone, that amounts to as much as 40% of a particular painting. Elsewhere, the problems were wrong hues or saturation that made great paintings lifeless on even the heaviest and best of printing papers. I am familiar with too many of these paintings in this book to be easily pleased. Discounting that as unrealistic expectations, I am still disappointed with the reproductions. There is too much mud and not enough glorious light and vibrancy associated with oils and brush work.My judgment here is certainly subjective and reasonable people can disagree. I may be too particular and raise the bar too high. I suppose then it matters to what I compare this book's reproductions as a standard for excellence. I choose books published by the Metropolitan Museum of Art. It is not alone in being respected at the high end in art reproduction but it has so many books out there everyone has a chance to see them relatively easily, (and yes, some are better than others), so one can at least get a sense of what getting it right looks like in my opinion. By that measure, "Landscape Paintings: A History" is nothing very special beyond the plate size. But I will grant that many people could be as equally delighted as the two reviewers here have been. We are still just exchanging opinions after all. In fact, I would not even have written this dissenting review if it was not such an expensive investment for fellow Amazon customers to buy it, especially if it is sight unseen. It is one reason why we share our opinions here with each other.This book is not a failure; it is just too far from the quality I had expected for the price. The point here is not to bash the book but advise caution. Secondly, if it is possible for you to do so, decide for yourself by seeing a copy. Seeing one before you buy will vary in difficulty depending upon where you live. Museums and colleges as well as some libraries tend to have it. You can possibly use inter-library loan to have one sent to your library if it is not available in other ways. Look before you buy. Whatever you decide to do is the right decision whether we agree or not. Otherwise you might be as surprised as I was. Nonetheless, I purchased this book later.

Few books anymore give one a sumptuous pleasure, not quite self-indulgence (the love of art can never truly be self-indulgent), but the satisfaction of sensual and intellectual stimulation. This is a ravishing art book, with an extremely good -- and, most of the time, not very predictable -- selection of paintings spanning centuries of landscape painting history. Very thick and very heavy, it's not a book, logistically speaking, to curl up in bed with; instead, enjoy it on a peaceful evening with a fresh cup of coffee at hand and some lovely music in the background. It will, as only the best art books can, not merely refresh your eyes and your spirit, but it might actually renew some of your faith in humanity in a world that -- let's face it -- is increasingly like a beserk insane asylum. And isn't that, after all, what art and books have been about all along?

I own a lot of art books, and this one has the BEST REPRODUCTIONS I HAVE EVER SEEN. Each painting is printed as large as possible, with near perfect color and detail reproduction. Viewing the paintings in this book are almost as good as seeing them in a museum. Somebody paid a lot of time and attention to quality control when printing this book.Whoever selected the pieces did a great job; landscape paintings throughout the history of western art, not always the obvious choice from particular artists, but all great paintings.

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