The two meanings inherent in the diaphor of landscape are well expressed in the definition of landscape in Dr. Johnson’s classic 1755 dictionary: (1) “A region; the prospect of a country”; (2) “A picture, representing an extent of space, with the various objects in it.” At first glance, it might seem that definition one refers to the object of representation, whereas the second refers to the pictorial representation of that object. But this is not the case. In the second definition, what is represented pictorially is not a region or a country, but first and foremost “space,” the “objects” being secondary to the space. It may seem counterintuitive that an artist is more interested in space than the objects in that space, but the fact is that space itself, as a form of nature, is an important object of artistic representation. When the various objects in a painting representing an extent of space happen to be objects identifiable with those normally found in a region or country, it is easy to think of landscape 2 as being the pictorial representation of landscape 1, and thereby forget the predominant importance of the space being represented. This is especially the case because space does not appear to be as “visible” as the various objects represented, even though it could be argued that all one sees in this sort of painting is space!
William Kent + Lancelot “Capability” Brown et alt. Stowe (1730-1751)
(Header: Fragment of Rene Magritte, The Human Condition (1933))