We are surrounded with things which we have not made and which have a life and structure different from our own: trees, flowers, grasses, rivers, hills, clouds. For centuries they have inspired us with curiosity and awe. They have been objects of delight. We have recreated them in our imaginations to reflect our moods. And we have come to think of them as contributing to an idea which we have called nature. Landscape painting marks the stages in our conception of nature. Its rise and development since the Middle Ages is part of a cycle in which the human spirit attempted once more to create a harmony with its environment.

Kenneth Clark, Landscape into Art (1944)

Giorgione_tempestGiorgione, The Tempest (1508)


Johannes Vermeer, View of Delft (1661)


Thomas Gainsborough, Mr.and Mrs Robert Andrews (c. 1748–1750)

J.M.William Turner, Snow Storm: Steam-Boat off a Harbour’s Mouth (1842)

Wild Poppies Near Argenteuil

Claude Monet, Wild Poppies Near Argenteuil (1873)


Paul Klee Landscape with yellow church tower (1920)


Making Visible

Art does not reproduce the visible, but makes visible [….] because the artist observes the things nature places before his eyes, with a penetrating gaze. And the deeper he penetrates, the easier it is for him to shift the viewpoint from today to yesterday, the more he be able to fix in his mind, in place of a defined image of nature, the unique, essential image, that of creation as genesis.”

Paul Klee, Creative Credo (1920)

Paul Klee, Main Road and Secondary Roads (1929)

klee17Paul Klee, Monument in Fertile Country (1929)

Paul Klee Southern (Tunisian) Gardens, 1919Paul Klee, Southern (Tunisian) Gardens (1919)

Making Visible