Robert Smithson, Spiral Jetty, 1970.
Claude Glass, 18th century
“The person using it ought always to turn his back to the object that he views. It should be suspended by the upper part of the case…holding it a little to the right or the left (as the position of the parts to be viewed require) and the face screened from the sun.” Thomas West, Guide to the Lakes
Pastoral Landscape, Claude Lorrain, 1638, Minneapolis Institute of Arts, Minneapolis, Minnesota.
“A succession of high-coloured pictures is continually gliding before the eye. They are like visions of the imagination; or the brilliant landscapes of a dream. Forms and colours, in brightest array, fleet before us; and if the transient glance of a good composition happen to unite with them, we should give any price to fix the appropriate scene.” Remarks on Forest Scenery 1795, The Reverend William Gilpin (1724-1804)
Camera Lucida, Manufactured in England, 19th century
Paul Sandby, Roslin Castle, C 1780
Joseph Wright of Derby, Rydal Waterfall, dated 1795
Sir Michael le Fleming’s summerhouse at the falls.
Jacob More, Cora Linn, Falls of Clyde, 1771
René Magritte, La condition humaine,1933
Giovanni Bellini, St. Francis in the Desert c. 1480
Lorenzo Lotto, St Jerome, 1506
Albrecht Altdorfer (c. 1480 1538 )Landscape with footbridge" (National Gallery, London) of 1518-20.
“He prised landscape out of a merely supplementary relationship to subject matter.” Christopher Wood.
Giorgione or Titian, Concert champêtre,Paris, Musée du Louvre, 1508-1509,
Renaissance Italy saw close connections between literary pastoral, landscape painting, land as an aesthetic asset and the development of a distinction between the domestic and the wilder areas of estates.
James Thomson 1700-48 The Seasons
“I know of no subject more elevating, more amusing; more ready to awake the poetical enthusiasm, the philosophical reflection, and the moral sentiment, than the works of Nature. Where can we meet with such variety, such beauty, such magnificence.”
Illustration by Kent and Tardieu of Spring from Thomson’s The Seasons, 1730
William Kent designs for Lord Cobham’s estate at Stowe in Buckinghamshire.
Peploe and Cadell
Joseph William Mallord TURNER (1775-1851) Rain, Steam, and Speed--The Great Western Railway
184, Snowstorm: Hannibal and His Army Crossing the Alps
“I had once given to these sketches the title of Picturesque; but the Alps are insulted in applying to them that term…..” Wordsworth
Burford's Panorama, Rotunda, Leicester Square, 1801.
“I own I have not as yet anywhere met with those grand and simple works of art that are to amaze one… but those of nature have astonsihed me beyond expression….it is one of the most solemn, the most romantic and the most astonishing scenes I ever beheld.” Horace Walpole visits Grande Chatreuse Monastery in Alps 1739
“the mind is so entirely filled with its object, that it cannot entertain any other, nor by consequence of reason on that object which employs it. Hence arises the great power of the sublime, that far from being produced by them, it anticipates our reasonings and hurries us on by an irresistible force.”
Burke, “Enquiry into the Origins of our ideas of the Sublime and the Beautiful.”
Salvator Rosa (1615 – 1673)
An Avalanche in the Alps, Loutherbourg 1803.
Michael Snow The Central Region»
«La Région Centrale» was made during five days of shooting on a deserted mountain top in North Quebec.
Guardian feature on Andy Goldsworthy in Alps.
Andy Goldsworthy, Snowball made from last remaining patch of snow left in the shadow of a tall hedge High Bentham, Yorkshire February 1979 Bentham.
Ice arch left to freeze overnight before supporting pile of stones removed (made in a field of cows - tense wait) ….1982
Snow brought to an edge to catch winter light on a clear day Brough, Cumbria 25 January 1984
Snowballs in Summer, June 2000
My first work made by walking, in 1967, was a straight line in a grass field, which was also my own path, going 'nowhere'. ….
Slioch Hilltop Cairn/Circling Buzzards 1980
Robert Smithson, Spiral Jetty, 1970; Asphalt Rundown, 1969.