LESSON 4 OUTLINE
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THEORY
As with all units of work in this curriculum, I strongly believe that we cannot view mosaic in a bubble, or on its own mosaic island. We need to continue to draw connections between history, culture and the broader visual arts through the ages which ultimately strengthens our understanding of mosaic practice. It is impossible to cover all important signposts in Landscape Art as the scope of the genre is incredibly vast crossing millenia, cultures and continents. So how to tackle this within three lessons in a way that is appropriate to the scope of our learning now? I have settled on 10 signposts in the development of landscape. Each touching on an era or philosophy and each the doorway to further enquiry should you choose to investigate further. |
Click on the image above to download a PDF of previous student examples.
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These 10 signposts will be broken up over the three lessons with some preparatory reading and watching to be undertaken in advance of each class.
This lesson covers the following approaches to Landscape art
This lesson covers the following approaches to Landscape art
- Bronze Age Frescos
- Greco Roman Mosaic
- Roman Frescos
- Chinese Landscape Painting
PRACTICAL
- View source images and discuss student selections ( See PDF of source images below)
- View and discuss previous examples of image mediation ( See PDF of mediation examples below)
- View previous students landscape studies and examine the variation in approaches.
- Practical Activity - Caitlin will demonstrate some ways to mediate images students can work along during the lesson of complete in their own time after class.
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LANDSCAPE IMAGE SELECTION & PREPARATION
Please see the attached PDF with 4 options for the Landscape study. Each Image has the following
If you re choosing your own image please share it with me via email so I can add it to the lesson discussion. I have purchased these image from Istock so they are ours to work with. I have uploaded the individual original images files to Google Classroom as well but they are very large. |
PDF of Landscape Source Images. For full res individual images please visit the Google Classroom
You will need to make your image selection, select your crop ( or create your own crop) and print out the image section in colour and greyscale before Lesson 4 which is on the 15th March.
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LANDSCAPE IMAGE MEDIATION
In visual arts the term image mediation is often used to describe how an image or scene is changed or interpreted
through the lens of the artist.
This artist is making decisions about what or what not to include, how to exaggerate or minimize certain areas, how to
approach colour and what mood or idea they want to convey about the subject.
In doing so they bring some of themselves to the image and it is no longer a straightforward representation of the
subject.
In visual arts the term image mediation is often used to describe how an image or scene is changed or interpreted
through the lens of the artist.
This artist is making decisions about what or what not to include, how to exaggerate or minimize certain areas, how to
approach colour and what mood or idea they want to convey about the subject.
In doing so they bring some of themselves to the image and it is no longer a straightforward representation of the
subject.
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In the Still Life study, we were working from images that had already been mediated or interpreted by the painters.
In the Landscape study we are working from photographs that have been created ( in some ways mediated) by the photographer. In this task we go one step further and change the photo into an interpretation by making changes to and choices about the images and how we want to represent it. This is a step towards independent practice where you may see something and then interpret that scene into an artwork that conveys your interpretation of the the scene. |
This PDF includes some previous student examples showing mediation of the source images in different ways. Click on the image above to view and download the PDF.
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HOMEWORK
- Select and crop your landscape image.
- Mediate your image in some way as discussed in the lesson. This may be though tracing, drawing, painting, colouring, simplifying, collaging , digital media manipulation or more.
- For those who are read start preparing a palette for the Landscape Task including some selected mixed media where relevant.
THEORY PREPARATION
If we search the origins of Landscape Art most sources point to the early (Proto) Renaissance (1200 - 1400AD) and some to Chinese Landscape Painting (1000 - 2000AD). Whilst these are both highly significant eras, as we found with still life, if we go back even further to the Bronze Age and Greco Roman art we can find evidence of a focus on landscape in both mosaic and wall painting ( fresco). In some cases demonstrating such incredible skill that rivals that which we see in later eras.
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Landscape Reference 1: Aegean Bronze Age Fresco
The Bronze Age frescos from the town of Akrotiri on the ancient island of Thera ( modern day Santorini) possibly offer the earliest form of landscape painting. Buried in a catastrophic Theran volcanic eruption in 1627BC the town was buried under ash and rubble much like Pompeii, and preserved until excavations began in 1967. |
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Smart History: Frescos from Akrotiri, Thera
Watch Time: 5.30 minutes |
Further information on the site of Akrotiri.
Watch time: 12.10 minutes |
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Landscape Reference 2: The Nilotic Mosaic of Palestrina, 100BC
Dimensions: 5.85 x 4.31m Pavement Mosaic from an Apse in a Grotto A Nilotic Mosaic refers to subject matter about the Nile River. There was a strong influence from the exotic nature of Egyptian inspired imagery. It was desirable to include in buildings whose patrons or owners wanted to communicate their worldly influence and awareness. Note the attempt at both linear and aerial perspective, in the mosaic. ( we will look at types of perspectives and viewpoints in more detail in Lesson 2) Another very famous Nilotic Mosaic was found in the House of the Faun in Pompeii. More information |
Landscape Reference 3: The Garden Rooms
Both of the following references are rooms from Roman villas with wall paintings ( frescos) on all or most sides depicting imaginary garden landscapes placing the viewer within an fantastic garden space. There are four recognised styles in Roman wall painting. These examples can be classified as the second style which focused on creating architectural or illusionistic imagery (much like a trompe l'oeil). I am quite overwhelmed by the ability of the artists to render depth as well as atmospheric (aerial) perspective in these examples.
I visited the Garden Room from the Villa of Livia last year and have some additional images to share in the lesson.
Both of the following references are rooms from Roman villas with wall paintings ( frescos) on all or most sides depicting imaginary garden landscapes placing the viewer within an fantastic garden space. There are four recognised styles in Roman wall painting. These examples can be classified as the second style which focused on creating architectural or illusionistic imagery (much like a trompe l'oeil). I am quite overwhelmed by the ability of the artists to render depth as well as atmospheric (aerial) perspective in these examples.
I visited the Garden Room from the Villa of Livia last year and have some additional images to share in the lesson.
The Garden Room, The Villa of Livia (Livia was the wife of the Emperor Augustus) at Prima Porta. The room was used as an underground dining room (Triclinium) Dated between 30-20BC
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Khan Academy: Palazzo Massimo, Villa of Livia
Watch Time: 4 minutes |
The Garden Room from the house of the Golden Bracelet, Pompeii. Dated between 30-35AD
For more Images CLICK HERE |
The British Museum: The Garden Room from the House of the Golden Bracelet, Pompeii
Watch Time: 2.45 minutes |
Landscape Reference 4: Chinese Landscape Painting
A revered and established tradition in Landscape Painting, primarily rendered in ink on paper or silk in a scroll format. Scrolls are read from Right to Left and depict imaginary landscapes which often reference the Daoist Philosophy placing humans as small in comparison to the sublime vastness of the landscape and must live in harmony with it..
A revered and established tradition in Landscape Painting, primarily rendered in ink on paper or silk in a scroll format. Scrolls are read from Right to Left and depict imaginary landscapes which often reference the Daoist Philosophy placing humans as small in comparison to the sublime vastness of the landscape and must live in harmony with it..
The Metropolitan Museum of Art New York, Asian Art Curator.
