| dc.description.abstract | Landscape painting emerged as a pictorial current at the end of the 19th century as a result of a sum of both academic and scientific interests that lead to an interest in nature. It is part of a political thought, which places our country in expectation of a new structure cultural partner that puts emphasis on freedom and human rights, the right to private property and especially opens its horizons to the social and cultural integration, is the need to communicate and draw inspiration from the earth itself.
This research intends to inquire in the different processes that performers experienced to the contact with nature, which is interiorized through different experiences that they have with the techniques of artistic process within catching the light, the space, the chromatic, and the experience that captures the spectator's valuation as well as the expectations of the artist. This process may or may not be artistic: sometimes guided by academicism, sometimes custom-made, with expectations that often have political purposes (at the expense of academic value, the subject).
Artworks that translate into a demand for the technique, since it is to grasp the nature, which of itself is perfect, in a neat almost perfectionist use of it, without understanding that individuals as fingerprints, are different on the inside; so they will capture the essence of nature according to the many experiences that have had.
The idea of painting landscape is no longer associated only with observation, but with the perspective of representing the environment according to the very particular and special way of each artist. | |
