Landscape With St. John On Patmos

Let us compare the changes that happened over two hundred years with landscape paintings. I have chosen two oil on canvas from the seventeenth century the “Classical” landscape painting “Landscape with St. Mathew and the Angel” and “Landscape with St. John on Patmos” both by Nicolas Poussin, said to be bookends of each other. “These two paintings are considered bookends” (Cothren) because even though they are standalone if you line up the paintings the trees and columns in both paintings look to be from the same building that has collapsed. The two oil on canvas paintings I have chosen to compare against from the mid to late nineteenth century is “First Leaves, Near Mantes” by Jean-Baptiste-Camille Corot and “Mont Sainte-Victoire” by Paul

(Chicago) “Landscape with St Matthew and the Angel” the other side of the bookend has realistic impressions of nature. The double bend of the river shows the full depth of the valley, while the high tower of a distant ruin is the main vertical feature of the landscape. Looking at the paintings with the people sitting in the front draws you into the painting and whether your eyes follow the river or the zig zag paths you get pulled further into the paintings. “There are striking similarities between the two pieces such as the men both being evangelists and the various ruins composed in both. This has led many to wonder if “the original commission probably included all four evangelists” (Chicago) “First Leaves, Near Mantes” with the vertical lines of the trees pulls your eyes up the painting and away from the couple walking down the road and the women working in the lower right corner almost making it where you would miss her if you were not looking closely. “Mont Sainte-Victoire” with the tree branches outlining the top and left of the painting pushes your eyes to the middle of the foreground of the painting where the small village is located but not clearly as defined. “Mont Sainte-Victoire is a mountain in Provence the region in southeastern France where Cézanne was born and spent most of his life. It can be

All three have their own technique and style. Nicolas Poussin was one of the leading practitioners of the classical landscape and painted “rigorously ordered and highly idealized Classical landscapes with figures” (Cothren). Jean-Baptiste-Camille Carrot “landscape paintings take more a romantic and less political approach to depicting rural life” (Cothren). Paul Cezanne “created highly structured paintings through a methodical application of color that merged drawings and modeling into a single process” (Cothren). “Corrot built his landscapes on solid geometric forms. His light-drenched palette of colors, his choice of scenes with luminous atmospheres, and his signature brushwork at first bold and solid then maturing into a feathery, light touch, were all seen as new and innovative and not always immediately grasped.” (Larson)With the Nicolas Poussin paintings, they are clear and crisp and you can understand what is happening and the details are clear to what you are looking at. Jean-Baptiste-Camille Carrot paintings have more of a muted color about them with green, blues and browns. Paul Cezanne paintings tend to lean to more of an abstract look. These artist painting all in oil on canvas start with Baroque, Realism, and Post Impressionism. Nicolas Poussin studied art in studios in Paris, Jean-Baptiste-Camille Carrot travels