Landscape and emotion
Hilary Hope Guise, professor of art history, Florida State University, lecturer and artist
The discovery that landscape can convey emotion was slow in coming. For centuries, 'landscape' was a worthless subject of art as it was perceived to be about nothing. Nature was only useful symbolically – to fill out the human story – until the invention of Romantic landscape in the seventeenth century when Claude Lorrain’s evocations of a golden age transformed space and light into grand subjects of art. Following the ‘picturesque’ veduta of the eighteenth century, Romanticism darkens the view in the moonlit works of Caspar David Friedrich. Nature takes on a moral force during the English Protestant Christian revival as seen in some works of Turner. Landscape then becomes a stage for political messaging in France, and is later abstracted through Modernism. Finally, in the twenty-first century, when art works are no longer framed at all, we see the environment create art out of her own majestic nature – ice, snow, leaves, and rocks. Monet’s ambition to express time as a continuum was only realised by Andy Goldsworthy, whose works reveal man's real place in nature, not as a framer, and exploiter, but as a humble collaborator.
1. Nature as symbol
2. From dreams to nightmares
3. The creative environment
This course will be offered on the Microsoft Teams platform. Participants will be sent a link.