The maddening fun of plein air painting still tempts artists to test the rules of outdoor artmaking.
The country’s most famous landscape painters pushed the idea of Manifest Destiny. Is there a better way to inspire people with landscape painting today?
Masterworks of American Landscape Painting at the Center for Figurative Painting makes clear that the term “landscape” has been widely interpreted.
For Cézanne, stone represented structure incarnate.
Li had to reinvent herself as a gestural painter in her 30s, after years of painting traditional ink-wash landscapes and Soviet-style propaganda.
Sarazin de Belmont was a rare talent: a self-funded artist and a woman who broke the courtly codes to travel unchaperoned for several years as she created open-air landscapes on the Italian peninsula and the French Pyrenees.
All that I saw were some small and medium-sized paintings, mostly very dark, almost indistinguishable. How could I review this show?
The artist’s depiction of landscape is a subjective experience of the outdoors, a cultural and psychological construct.
The Romantic landscape artists of the 18th and 19th century were so obsessed with nature and the skies above that in 1856 critic John Ruskin called the frenzy “modern-day cloud worship.”
The oldest-known landscape painting might have been created in modern-day central Turkey, according to a new study.
The Rijksmuseum has acquired one of the earliest depictions of America — a painting by Jan Mostaert from circa 1535 titled “Landscape with an Episode from the Conquest of America.”
I was at Catching the Light, Lois Dodd’s retrospective at the Kemper Museum of Contemporary Art, the August day I got the news that critic Robert Hughes had passed away at Calvary Hospital in the Bronx, New York. For many, myself included, Hughes’s prose did for art criticism what Shakespeare did for the stage. Hughes was sound and fury, speaking in a booming voice while just barely opening his mouth.