Chinese landscape painting (which formed a separate discipline and academic theoretical system during the Northern and Southern Dynasties period from 220 to 589) is actually a depiction of scenery. The term "Landscape" was introduced to China in 1576-1610 with Western art forms such as oil painting.

A mural depicting the scenery has been discovered in Pompeii, Naples Province, Campania, Italy (the ancient city of Pompeii became a territory of the Roman Empire in 82 BC and was buried in 79 AD due to the eruption of Mount Vesuvius).

Pompeii Ancient City Murals

In the 14th century, influenced by the Florentine School, the Sienese painter Ambrogio Lorenzetti (Italy, 1290-1348) created murals such as "The Influence of Good Rural Government" and "The Influence of Bad Rural Government" at the Siena City Hall in the Siena Province of the Tuscany region of Italy, depicting the scenery.

Ambrose Lorenzetti's "The Influence of Good Rural Government"

In the 15th century, Hubert Van Eyck (Netherlands, 1370-1426), known as the "father of oil painting", Jan Van Eyck (Netherlands, 1395-1441), Roger van der Weyden (Netherlands, 1399-1464), and Hans Memling (Germany, 1399-1464), who mainly engaged in religious and portrait painting, were members of the "Netherlands School of Painting" (Netherlands includes some regions such as the Netherlands, Belgium, Luxembourg, and France today). In some of the paintings created between 1430 and 1494, landscapes accounted for a significant proportion.

Hubert van Eyck's "The Three Saints in the Empty Tomb"

Jan Van Eyck's Praise of the Lamb

Roger van der Veyden's "Saint George and the Dragon"

Hans Memlin's "The Coming and Victory of Christ"

Leonardo di ser Piero da Vinci (Italy, 1452-1519), who was known as the "Three Masters of the Renaissance" along with Michelangelo Bonarotti and Raphael Sanci in the "Roman School of Painting," created the first landscape based sketch.

Leonardo da Vinci's "Scenery of the Arno Valley"

In the 16th century, Joachim Patenier (Netherlands, 1480-1524), the earliest European landscape painter, appeared in the "Netherlands School of Painting". He often used the technique of "reverse composition" to overlook the open panorama from a high perspective, combining the open landscape with reduced figures, and expressing the story and theme with reduced figures. The painting school also saw the emergence of the earliest peasant painter in Europe, Pieter Bruegelde the Elder (Netherlands, 1525-1569), who valued observation and research on life. He often went to the countryside with friends to participate in the labor of farmers and depicted scenes with more realistic characteristics, known as "Farmer Bruegelde". Baroque style Peter Paul Rubens (Belgium, 1577-1640) broke the seriousness, subtlety, and balance of the Renaissance period, advocating luxury and grandeur, using curves, arcs, or curves to express and emphasize spatial, three-dimensional, and fluid elements. He and his second son, Jan Bruegel the Elder (Netherlands, 1568-1625), still carry the style of this painting school.

Joachim Patiniel's Scenery of Saint Jerome

Peter Bruegel the Elder's "Hunter in the Snow"

Peter Paul Rubens' The Hayster of the Morning

Lao Yang Bruguel's "The Big Fish Market"

Giorgio O Zorzi Da Castelfranco (Italy, 1477-1510) of the Venetian School of Painting depicts magnificent colors, vivid shapes, and skillfully combines poetic natural landscapes with character images to create magnificent and beautiful artistic effects. Tiziano Vecelli (Italy, 1488-1576) initially had a delicate style, expressing objects through color and contours, and then developed to mainly rely on light and color to express objects. The style of the middle period influenced Baroque painting, while the style of the later period influenced Romanticism and Impressionism. Giovanni Bellini (Italy, 1430-1516) comprehended the use of "oil based media" in the painting of the "Netherlandic School" and used it instead of the egg color method to present deeper colors in the painting, which had more room for expression in depicting the interaction between light, air, and matter. Paolo Veronese (Italy, 1528-1588) painted with vibrant colors and unique perspectives, depicting stylist landscapes used for hall decoration, which had an impact on Baroque painting. The works of Tintoretto/Jacopo Robusti (original name) (Italy, 1518-1594) inherit the style of Titian Veccellio and are innovative, imitating Michelangelo Bonarotti in narrative and emotional expression, highlighting strong movements and colorful dreamlike colors. Jacopo dal Ponte (Italy, 1510-1592) depicted farmers, animals, and still life in a realistic and vivid manner, showing a tendency towards realism. He created a photochromic painting style that depicted the extreme of light and atmosphere.

Giorgio Barbari da CastelFrank's "The Tempest"

Titian Vechelio's Escape to Egypt

Giovanni Bellini's "Saint Francis in the Desert"

Paul Veronese's "Port Scenery"

Dintoretto/Jacob Robusti's Escape to Egypt

Jacob Bassano's Noah After the Flood

Albrecht D ü rer (Germany, 1471-1528), the earliest European painter to paint natural landscapes in watercolor, spread the forms and theories of the Italian Renaissance to northern Europe, laying the foundation for the "German National Painting School". The German style painting tradition preserved the Gothic legacy in his works, and his later works were the first to showcase Baroque characteristics.

Albert Durler, "The Drawing Mill Near Nuremberg"

The painters of the Danube School, which was the earliest in Europe to depict forests, sunsets, and ruins, broke the rigorous classical Italian style of creation and became the earliest realistic painting school in the West to depict landscapes from life. Albrecht Altdorfer (Germany, 1480-1538) inherited and broke through the landscape that was only used as a background in Albrecht Duller's paintings. His painting "Danube Landscape and Walter Castle" became the first pure landscape painting depicting nature, making landscape painting an independent genre. Painters from the Italian Venetian School and the Danube School, such as Lucas Cranach der Aeltere (Germany, 1475-1553), are known as the "earliest explorers of modern European landscape oil painting". They truthfully depict real scenes in their paintings in a naturalistic way.

Albrecht Altdorfel's "Danube Landscape and Walter Castle"

Lucas Kranach the Elder, Hunting Bucks with Elector Friedrich the Wise

The paintings of Annibal Carraci (Italy, 1560-1609) depict pastoral landscapes, gradually developing into "ideal landscape painting". His landscape paintings had an impact on the works of Nicolas Poussin and Claude Loran, and he was the first person in classical landscape painting to express the artistic temperament of "elegance" and "nobility" through architecture, street scenes, and natural scenes. Nicolas Poussin (France, 1594-1665), who emphasized poetic expression, and Claude Lorraine (France, 1600-1682), who was good at depicting ancient architectural relics, used ancient Roman ruins and suburban rural scenery as their themes, embellishing ancient mythological figures, and were known as "heroic landscape paintings".

Anibar Karachi's Landscape and Rivers and Swimmers

Nicholas Poussin's Scenery of St. John on the Island of Patmos

Claude Loran's "The Robbed Coast of Europa"

In the 17th century, painters gathered in the picturesque Netherlands to objectively depict the scenery of the region. With the increase in the number of works, the art trading market also emerged. Albert Jacobsz Cuyp (Netherlands, 1620-1691), who studied under his father Jacob Gerritsz Cuyp (Netherlands, 1594-1652), was skilled at painting river and ocean landscapes, embellishing darker colored characters and livestock, creating a strong contrast with the overall sunny golden environment, expressing the beautiful atmosphere of figures and buildings appearing faintly in the mist and dawn under the sun and sky. Jan Josephszoon van Goyen (Netherlands, 1596-1656), whose main creative theme was rivers, was skilled at single tone painting. He was able to handle the color relationship between silver gray water surfaces and yellow brown land well, and often embellished people's daily activities by the riverbank. Jacob van Ruisdael (Netherlands, 1628-1682), who studied under his father Isaac van Ruisdael (1599-1677), was a pioneer of romanticism, realism, and symbolism. He was skilled at depicting the coastline, forests, and contrasting sand dunes of Harlem. In his middle age, his painting style was majestic, passionate, and full of heroic epic tragedy. He used his brush to endow turbulent rivers, cascading waterfalls, mountain castles, and desolate ruins with unique characteristics. The charm and artistic conception of. Rembrandt Harmenszon van Rijn (Netherlands, 1606-1669) used a "light dark" technique in his oil paintings, using a black brown or light brown background to concentrate light on the main parts of the painting, using precise triangular light to outline the contours of the characters, and hiding the rest in the darkness, giving a stable and dignified feeling. Willem vande Velde the Younger (Netherlands, 1633-1707), who studied under his father Willem vande Velde the Elder (1611-1693), was skilled at depicting beach scenes and coastal ships, paying attention to the movement of light and clouds on the water surface under calm or stormy conditions. With increasing government requests to record naval battles between the Netherlands and Britain, his increasingly detailed depiction of ships and the ocean made him an influential marine painter. Pieter de Hooch (Netherlands, 1629-1684) was famous for his ability to depict the lives of women and children. His paintings abandoned rigid poetic elements and added a touch of simplicity to everyday life. His later works were mostly drawn from the affluent class of the citizens, resulting in his paintings being magnificent, with techniques and content returning to simplicity. Johannes Vermeer (Netherlands, 1632-1675)'s works are like elegant pastoral poems, showcasing the tranquility and beauty of Dutch countryside in front of people, where the sunshine is bright, the trees are shaded, and the spinning water wheel gives a trembling life to the still scene. Meindert Hobbema (Netherlands, 1638-1709) focused on direct observation and depiction of nature. He often used trees as the main subject and repeatedly depicted similar scenery, using precise painting language to depict realistic objective environments.

Albert Jacobs Kuiper's "Scenery and Knights, Figures and Cattle"

Yang Fan Huoyan's "Thunderstorm"

Jacob van Resdar's "The Cemetery"

Rembrandt Halmanson Van Leyne's "The Stone Bridge"

William van der Wilde Jr.'s Battle of Tessel

Peter de Hoch's "The Nine Pillars Player in the Garden"

Johannes Vermeer's "Delft Scenery"

Maindelt Hobema's Landscape with Abundant Trees

In the 18th century, Venice became a tourist destination, and as an accessory, "urban landscape paintings" emerged. Giovanni Antonio Canale (Italy, 1697-1768) was skilled at drawing urban architectural landscapes on a large scale. In some of Bernardo Bellotto's (Italy, 1721-1780) paintings, the foreground is outlined using a dark box (which is an optical device, the predecessor of a camera), creating an accurate and undistorted sense of the scene. Francesco Guardi (Italy, 1712-1793) extensively replicated landscape paintings by etching copperplate prints.

Giovanni Antonio Canaletto's "Entrance to the Grand Canal of Venice"

Bernardo Beloto's "School of Saint Giovanni and Paul and Saint Mark"

Francisco Guardi's "The Governor of Venice Assists in Celebrating Easter on the Square"

Jean Antoine Watteau (France, 1684-1721) reflects the life of upper class society, where people wear dazzling silk and satin. The beautiful colors and exquisite decorative styles in the painting replaced the more robust style of the Baroque period, and the Rococo style began to sprout. Francois Boucher (France, 1703-1770)'s works are light hearted, witty in style, and often contain interesting content, representing the mainstream painting style of the Rococo period. Jean Honore Fragonard (France, 1732-1806) has a variety of expressive techniques, which can delicately and delicately depict objects, as well as depict rough and freehand shapes, and effectively use light and dark variations in his creations.

Jean Antoine Watto's "Sailing to the West Coast"

Fran ç ois Boucher's "Scenery near Beauvais"

Jean Honore Fragonard's "The Pastoral Scenery of the Shepherd and the Shepherdess"

Claude Joseph Vernet (France, 1714-1789) refined and sublimated natural elements to present a unique decorative effect in the painting, which not only reflects his artistic pursuit but also showcases his profound insight into French port life. His painting style leans towards classical style, and his later works have shown a romantic style. Romantic landscape painter Joseph Mallord William Turner (England, 1775-1851) enjoyed depicting natural phenomena and disasters, and his interest in light and color exceeded that of form, laying the foundation for the formation of Impressionism in the future. He effectively promoted and elevated the position of landscape painting in the overall painting system. Caspar David Friedrich (Germany, 1774-1840) discovered new nature that people had never paid attention to, such as endless oceans or mountains, snow covered mountains, and the sunlight and moonlight shining on these natural landscapes, conveying a noble spiritual power. Surrealists and existentialists drew inspiration from his paintings. John Constable (England, 1776-1837) used the brushstrokes and colors of his paintings to express certain things that could not be conveyed by language in specific lighting, time, and scenes. He had an impact on the formation of the French "Barbizon School" and the development of Impressionism. Ferdinand Victor Eugene Delacroix (France, 1798-1863), who was skilled at expressing painting language and inner emotions through scenery, called him the "father of modern landscape painting".

Claude Joseph Verne's "Mountain Scenery with Rivers"

Joseph Malold William Turner's "Fishermen at Sea"

Caspar David Friedrich's "Ice Sea"

John Constable's Haycart

Ferdinand Victor Eugen Delacroix's "The Sunken Ships on the Coast"

Neoclassicism first appeared in the field of architectural decoration and design in 17th century Europe. Due to the excavation of the ancient city of Pompeii in Rome, some painters hoped to revive classical art in ancient Greece and Rome, so they abandoned the cumbersome decorative art of Baroque and Rococo styles. Starting from France, revolutionary designers have utilized many new materials and techniques to reshape the elegant and noble temperament contained in classical works. Corot Camille (France, 1796-1875), who depicted the plain and peaceful rural areas of France, went against the previous practice of painters painting the dark parts very dark, but instead made efforts to make the dark parts transparent and bright, greatly increasing the brightness of the entire picture. He, along with Nicolas Poussin and Claude Lorraine, are known as the three major landscape painters in France.

Camille Koro's "The Farmer Under the Tree"

In the 19th century, when French neoclassicism and romanticism were in sharp opposition, painters living in the Barbizon village of Paris in France walked out of their studios to paint in the wild, depicting colors that were closer to the true state of nature, forming the "Barbizon School of Painting". Also known as the "Fontainebleau School of Painting" due to its proximity to the Fontainebleau Forest. Jean Desire Gustave Courbet (France, 1819-1877), following Romanticism, opposed the affectation and nihilism of official art, giving rise to the realistic art style and influencing Impressionism. Jean Francois Millet (France, 1814-1875), who was skilled in using light and color to express emotions and atmosphere, demonstrated the dignity and beauty of the laboring masses through his realistic depiction of the hard work of farmers, affirmed their significance in art, and opposed the misconception that noble painting must depict noble characters. Henri Julien F é lix Rousseau (France, 1844-1910) is regarded as a pioneer of the surrealist art style of the 20th century. He did not pay much attention to the creation of perspective and light and shadow effects, and precisely because of this, the audience standing in front of his paintings was deeply moved. He once said, "Creators must obtain complete freedom to reach the realm of beauty and goodness in their thoughts.". Charles Fran ç ois Daubigny (France, 1817-1878) walked out of his studio to sketch in nature, based on the realistic scenery of seeing as reality, emphasizing the richness of colors in the painting, and creating poetic and beautiful images. His works truly reflect the natural scenery and rural life of France, and have had a profound impact on Impressionist painters, earning him the title of "Beethoven of water painting".

Gustav Courbet's "Lukang"

Jean Fran ç ois Miller's "The Hamo Cousin of Greyville"

Henry Julian Felix Rousseau's Landscape and Bridges

Charles Fran ç ois Dubini's "The Fields of June"

Lingchuan Shixuan, a painter of meat pen painting, is regarded as the founder of ukiyo-e. His paintings mainly depict a constantly floating world. In the Edo period, the demand for art from the civilian class increased, and meat pen painting gradually transitioned to woodblock ukiyo-e. Impressionism, post impressionism, and the Art Nouveau movement were all influenced by ukiyo-e. Katsushika Hokusai (Japan, 1760-1849) boldly absorbed the creative techniques of Dutch landscape painting on the basis of inheriting the style of Japanese famous scenic spots, and carefully observed the living customs of Edo residents. The painting style was both abstract and pure, while the techniques were as simple as possible, creating a new style that combined Western techniques and Japanese tastes. The landscape paintings of Ando Hiroshige (Japan, 1797-1858) often have bright colors, complex and symmetrical compositions, and a gradual sense of hierarchy in the picture. Close and far shots gradually change, giving people a poetic beauty.

Ge Shi Beizhai's "Junzhou Jiangjiri"

Kagawa Hiroshi's "Turtle House Plum House Shop"

Artists in the United States have left cities to explore the unknown nature, and this peaceful and vast natural scenery has brought spiritual comfort to the people after the Civil War. Some of the painters began to depict the scenery near the Hudson River, becoming the beginning of the Hudson River School of Painting. Thomas Cole (England, 1801-1848) had a profound understanding of natural landscapes and romanticized their expression. Asher Brown Durand (1796-1886), known as the "father of American landscape painting," has a delicate style and rich colors that are closer to the real natural world. As the United States developed the West, the second generation of Hudson River painters gradually began to pay attention to and depict the western regions of the United States. John Frederick Kensett (USA, 1816-1872) had a more conservative style, not using bright colors or winning over the wonders of the terrain. His works were light and elegant in color, mainly depicting calm promontories and water surfaces. Frederick Edwin Church (USA, 1826-1900) is renowned for his exquisite painting skills and unique depiction of magnificent natural scenery. His works not only showcase the beauty and grandeur of the American continent, but also convey his reverence for nature. Albert Bierstadt (1830-1902), who studied in the Dusseldorf School for several years, created magnificent panoramic images through his meticulous depiction of small details and unique handling of light and shadow.

Thomas Cole's "Two Lakes and a Cottage in the Mountains of Catskill"

Asher Brown Durand's "The Beech"

John Frederick Kenset's "Scenery of the Hudson River"

Frederick Edwin Church's "Tropical Rainy Season"

Albert Beerstadt's "Native Americans Fishing with Harpoons"

In the mid-19th century, Impressionism emerged in France as an extension of realism. Impressionist style strives to depict nature with authenticity, from realistic landscapes to understanding one's own value. The surface of the work pursues changes in light, shadow, and color, but in essence, it pursues the expression of one's own emotions. Camille Pissarro (France, 1830-1903) was influenced in his early years by the "dot school" of George Seurat and the Japanese ukiyo-e style, showcasing the beauty of nature through delicate light and shadow processing and vivid color expression, conveying people's love for life and nature. Eduard Manet (France, 1832-1883) was influenced by Japanese ukiyo-e and Spanish painting styles, boldly adopting bright colors and abandoning the traditional intermediate tones of painting. His art style developed from a three-dimensional three-dimensional space to a two-dimensional structure. Oscar Claude Monet (France, 1840-1926) was the first painter to use the technique of external light to create. He drew inspiration from the style of Japanese ukiyo-e in terms of color, and did not see very clear shadows or prominent or flat outlines in his paintings. Through extensive artistic practice, he improved the theoretical system of Impressionism. Alfred Sisley (France, 1839-1899) inherited the rigorous composition and subtle gray tones of the Barbizonian school. In order to improve the purity of colors and the brightness of the picture, he juxtaposed unmixed colors on the canvas, allowing the audience to subconsciously blend adjacent colors and create rich color changes in the picture. Eugene Boudin (France, 1824-1898) often portrays the relationship between humans and nature in his works, with a particular preference for port and beach landscape themes. Lighthouses, the sky, the sea, and the colorful crowds on the beach are frequently featured in his works. Gustave Caillebotte (France, 1848-1894) is adept at capturing the changes in light on different objects and the subtle differences in color under illumination, which gives his works a high visual impact and makes the audience feel as if they are in the scene of the picture.

Camille Bisharo's Landscape of Rouen

Edward Manet's "1867 World Exposition"

Oscar Claude Monet's "The Blooming Arch"

Alfred Sisley's "Rocky Piles in Langland"

Eugene Bodin's "Port of Bordeaux"

Gustav Kayebot's "The Argenteuil Basin"

Gustave Moreau (France, 1826-1898), a Symbolist, blended the techniques of classicism with the passion of romanticism, possessing both the traditional shaping abilities of classicism and the ability to use splendid colors. Moreau said, "I neither believe in what I can touch nor what I can see, I only believe in what I cannot see and touch." Pierre Puvis de Chavannes (France, 1824-1898) used symbolic techniques to express mythology and religious content, and he skillfully used metaphors or hints to express ideas. Emotions, the colors of the work are bright, stable, and rich in decoration. Odilon Redon (France, 1840-1916), known as the "Prince of Dreams," juxtaposes objects from real life with those from the fantasy world, allowing viewers to freely experience the suggestive nature of his works.

Gustav Moro's Victory of Alexander the Great

Pierre Pierre de Savannah's "Rivers"

Odilon Redon's Flower Composition

Western art history refers to paintings before Paul C é zanne (France, 1839-1906) as traditional painting, which emphasizes the authenticity and objectivity of the painted scene, emphasizes the proportion between elements, the perspective relationship of the picture, and the anatomical structure of the human body, and is a representation of reality or nature; Subsequent non-traditional paintings (such as the Post Impressionist style) focused on the composition of the painting or the expression of the painter's own spirit and thoughts. Paul C é zanne attempted to explore a simple form of expression beneath the natural surface, constructing ordered images from the scattered visual images before his eyes. He believed that the painting language of Impressionism, which blurs objects, would not be able to form the meaning of the image. He emphasized the clarity and solidity of objects, and his philosophy influenced painters of Cubism and Abstractionism, earning him the title of "Father of Modern Painting". Paul Gauguin (France, 1848-1903) was initially infatuated with the Impressionist art style, but later influenced by the symbolist aesthetic concept, he went beyond naturalistic observation and pursued emotional expression. He wrote, "Impressionists blindly study color without any freedom to speak of. They only focus on the eyes and are indifferent to the mysterious core of thought, thus falling into a state of only scientific reasoning." His painting style has a tendency towards originality and symbolism, influencing the "Nabi school" with a style of synthesis and bold color methods. Vincent van Gogh (Netherlands, 1853-1890) did not pay attention to the reproduction of objective objects, but focused on expressing the inner feelings of things, thus exploring a expressive language of painting. In 1889, after an argument between Vincent Wilhelm van Gogh and Paul Gauguin, he cut off his ear and was sent to the St. Remy's lunatic asylum. In 373 days, he completed more than 150 oil paintings and over 100 sketches. At this time, his painting style had become more expressionist, and those images, which were like waves and flames, were full of melancholy and sadness. Georges Seurat (France, 1859-1891) paid special attention to optics and color theory and conducted numerous experiments dedicated to methodological and theoretical research. Some believe that his death marked the end of Neo Impressionism.

Paul C é zanne's "The Bather in the Background of Mount Saint Victor"

Paul Gauguin's "Women on the Riverbank"

Vincent Wilhelm Van Gogh's "The Blooming Orchard"

George Shura's "Port Besan"

The Nabi painters proposed a creative theory of "double adjustment", where objective adjustment is based on pure aesthetic theory, decorative concepts, and composition techniques for objective deformation, and subjective adjustment is made through the painter's own intuition. Pierre Bonnard (France, 1867-1947) combined brilliant colors and diverse structures to form a unique subjective art, attempting to explore the relationship between colors and tones in nature, emotionalizing and impressing the real world, and mixing self experience recognition through synesthesia, surpassing the visual reality. Paul Serusier (France, 1863-1927) used flat surfaces, strong contour lines, and subjective colors to depict summarized and simplified forms, giving painting a strong sense of rhythm and decoration. He was a pioneer of abstractionism and also a source of inspiration for the Nabis movement, syntheticism, and cloisonne (separation) themes. Interior leader É douard Vuillard (France, 1868-1940) used Impressionist techniques to depict the daily lives of relatives and friends indoors, in Paris gardens, and on the streets. His creations did not rely on central perspective, but relied on pure subjective intention and decorative concepts to bring out a sense of form. Maurice Denis (France, 1870-1943), who painted murals for the church, combined serene and peaceful sketches with bright colors, and then harmoniously matched blue and rose to create a solemn atmosphere and beautiful light and shadow in the painting.

Pierre Bernal's "Autumn: The Fruit Picker"

Paul Selicier's Seaweed Collector

Vial Edward's Painting with a Wild Chicken

Maurice Dennis's Waves

At the end of the 19th century, the "Fauvism" was prevalent in France, where painters used bright and heavy colors and bold brushstrokes to create strong visual effects, revealing an expressionist tendency to pursue emotional expression. Maurice de Vladinck (France, 1876-1958) and Andre Delang were immersed in color research in their early days, and together they created the "Chartist School" as the source of the "Beast School". He said, "I increased the brightness of all colors and transformed everything I felt into a pure colored orchestral piece." Edvard Munch (Norway, 1863-1944) mostly used themes such as life, death, love, terror, and loneliness, summarizing exaggerated shapes with contrasting lines, color blocks, and simplicity. He expressed his feelings and emotions, and his art style influenced the formation of expressionism in Germany and Central Europe. Henri Matisse (France, 1869-1954) was skilled at refining the colors of natural objects with high purity, and combining flat color blocks according to certain internal needs to create a musical rhythm. He said, "I use colors as an expression of emotions, not plagiarism from nature." Andre Derain (France, 1880-1954) regarded colors as the soul of painting, and used subtle and elegant cool tones as the main colors in his creation. He abandoned subjective forms of expression as an expressionist style and devoted himself to establishing a mutual relationship with objects. He once said, "Realism has come to an end, while painting has just begun.". Albert Marquet (France, 1875-1947) conducted in-depth research on traditional art and was influenced by the artistic trend of the time. His painting style began to transition from Impressionist style to the dot color method in the New Impressionist style. The original "Fauvism" style depicted in his works was abandoned, and he pursued a sense of space with different brightness. Georges Rouault (France, 1871-1958) gradually developed his own artistic style in his contemplation of society and religion. His themes were expressed by boldly applying thin layers of dark red and blue and highlighting strong contours, creating quite melancholic and gloomy images. In his later years, his painting style was mostly thick and colorful, with thick lines highlighting the images. Henri Charles Manguin (France, 1874-1949) did not use straight lines to depict themes in his paintings, but instead used clever curves, with coherent and coordinated lines that hinted and outlined shapes through color, and the ups and downs of shapes in the painting brought about changes in color. Raoul Dufy (France, 1877-1953) loved to depict nature and life straightforwardly, exuding an elegant and agile temperament. Through lively brushstrokes, he exaggerated and transformed objects, pursuing decorative effects.

Maurice de Flamont's "Scenery on the banks of the Earl River"

Edward Monk's Coastal Scenery

Henry Matisse's "The Scenery of Coliseum"

Andre Delang's "Lot Valley"

Albert Marquet's Port of Olonne in Leshable

George Ruo's "Scenery of the Bible"

Henry Charles Munguin's Rock

Ra ú l Duffy's "Nearby Hills"

Painters near Russia are no longer satisfied with following the art of Italian and French academies. The founder of the Russian landscape painting school, Alexei Kondratyevich Savrasov (Belarus, 1830-1897), delved into deeper connotations through nature. He extracted the most spiritual "emotions" of nature from the desolate land of Russia, and was therefore known as a landscape painter with rich national emotions. In 1863, the Royal Academy of Fine Arts in Petersburg held a painting competition with the title "Valhalla Hall". 14 graduates of the academy believed that the topic was too unrealistic, and the academy immediately expelled them. In 1870, these painters formed the "Russian Artists Tour Exhibition Association", which mainly depicted the natural scenery of Russia and the daily lives of the middle class and farmers. In 1871, members of the "Russian Tour Art School" held their first art exhibition in St. Petersburg. Vasily Grigorevich Perov (Russia, 1834-1882) reflected the strong voice of the people and his sympathy for the working masses in his works, which had a significant impact on the development of the Moscow School of Painting. Ivan Nikolaevich Kramskoy (Russia, 1837-1887) placed great emphasis on the expression of national style in artistic forms, originality, and profound ideas, which had a great influence on the Russian painting world and young painters. Ilya Efimovich Repin (Russia, 1844-1930) created a large number of historical, genre, and portrait paintings, which portrayed the hardships and desires of people's lives. Ivan I Shishkin (Russia, 1832-1898), known as the "forest singer of Russia," depicted the mystery and grandeur of the northern forests of Russia, sensing the character of the Russian nation through his paintings. He is regarded as a "milestone in the development of Russian landscape painting.". Vasily Ivanovich Surikov (Russia, 1848-1916) always manages to depict the unique scenery of Russia in his paintings, in order to express his love for nature in his homeland. The works of Isaac Elich Levitan (Russia, 1860-1900) are extremely poetic, profoundly and realistically portraying the natural characteristics and beauty of Russia. Valentin Serov (Russia, 1865-1911)'s sincerity and persistence in art, as well as his love for his homeland and nature, ultimately formed his realistic painting style.

"A Day in Spring" by Alexei Gondratwich Safrasov

Vasily Grigorievich Petrov's "Annancatu on a Cold Winter Morning"

Ivan Nikolayevich Kramskoy's "The Mermaid"

Iria Yefimovich Lebin's "The Strawler on the Volga River"

Ivan Ivanovich Hirschkin's "Morning in the Pine Forest"

Vasily Ivanovich Surikov's Bronze Knight

Isaac Ilich Leviathan's Quiet Monastery

Valentin Sherov's "October"

Painters from different countries residing in Paris have developed their own artistic language through continuous realistic creation, known as the "Paris School of Painting". Amedeo Modigliani (Italy, 1884-1920) used beautiful and concise lines to outline objects, and then applied exaggerated and refined rich colors to create a rhythmic and beautiful rhythm in the picture. Maurice Utrillo (France, 1883-1955) is known as the "poet of nature", who expresses natural landscapes with delicate brushstrokes and precise colors, particularly adept at capturing changes in light and breath. Chaim Soutine (France, 1894-1943) is known for his heavy brushstrokes, rich colors, and exaggerated forms, expressing his negative attitude towards the entire society through abstract and distorted painting language.

Amedeo Modigliani's "Scenery of Kane"

Maurice Utrillo's "Scenery of Corsica"

Chaim Sudin's "A House with a Sharp Roof"

Wassily Kandinsky (Russia, 1866-1944) was knowledgeable, proficient in music, and had a systematic study of Western modern philosophy. He summarized a complete set of theories about abstract art, which includes two aspects: first, art is not an objective and natural imitation, but an expression of inner spirit; Secondly, artistic expression should be abstract, while concrete images hinder the transmission of spirit. Piet Cornelis Mondrian (Netherlands, 1872-1944) painted realistic figures and landscapes in his early years, but gradually simplified the form of trees into pure abstract compositions of horizontal and vertical lines, creating a universal beauty of phenomenal order and balance through profound introspection and insight. Kazimir Severinovich Malevich (Russia, 1878-1935) established the art style of solo dance with simple abstract geometric forms and concrete geometric forms of late black and white or bright colors. He once said, "Imitative art must be destroyed.".

Vasily Kandinsky's Urban Landscape

Peter Cornelius Mondrian's Broadway Jazz

Casimir Severovich Malevich's "Morning in the Village After a Snowstorm"

Since the 20th century, more categories of landscape painters have emerged. Edward Hopper (1882-1967) was a leader in modern realism painting in the United States. He had exquisite skills in the treatment of concrete and abstract, color and texture, form and light and shadow. He used simple geometric forms to construct his paintings and depicted dramatic light and shadow by painting the light and shadow of stacked blocks.

Edward Hopper's "Cobb's barn and distant houses"

Giorgio Morandi (Italy, 1890-1964) constantly modified the structure, softened colors, filtered out details, and created an almost abstract picture, making his works completely transcend the "still life" scenery and have a purely spiritual monumental significance. Bartis said, "Morandi is undoubtedly the closest European painter to Chinese painting. He saved his brush and ink to the extreme, and his painting has a unique realm."

George Morandi's "Snowy Scenes"

Kaii Higashiyama (Japan, 1908-1999) captured the beauty of Japanese sentiment with a Western realistic perspective and was adept at portraying pure nature without modern civilization pollution. His works enhance the sense of space while maintaining flatness. In terms of decoration, they exude a poetic and philosophical style with a touch of sadness and a touch of elegance and introversion.

Dongshan Kuiyi's "White Horse Forest"

Balthasar Klossowski de Rola (France, 1908-2001) did not enter the Academy of Fine Arts to study painting, but instead copied the paintings of ancient masters at the Louvre. It advocates a retro spirit and highly values the skills of painters such as Francisco Guardi, Tomasso di Giovanni Di Simone Guidi (known as the "pioneer of realism"), Giotto di Bondona (known as the "father of European painting"), and Nicolas Poussin, pushing representational painting to a new level.

Baltazar Klosovsky de Lola's "Scenery of Provence"

Andrew Wyeth (1917-2009), as a neorealist painter, used watercolor and egg color to depict the natural environment around life, using "abstractions" as a painting element, delving deep into the surface of nature, and incorporating personal subjective ideals and wishes into his works, forming a thought-provoking art with profound connotations.

Andrew Wise's The Hunter

Lucian Freud (UK, 1922-2011) was an expressionist painter who used heavy brushstrokes for color modeling, and his mastery of color was no longer limited to shaping the character's image, but rather transforming color into a meaningful life. In the later stage, his focus gradually shifted from the meaning generated by gray and body changes to the emphasis on body language itself.

Lucien Freud's "Bird's-eye View of the Landscape"

Frank Auerbach (UK, 1931-) is known for his precise and powerful brushstrokes, and his images often take months or even years of contemplation to come to life. The concrete imagery is self evident, avoiding possible interpretations. He once said, "Art is forgetting oneself and acting according to instinct."

Frank Albach's "Monington's New Moon"

Antonio Lopez Garcia (Spain, 1936-) had an expressionist style in his works around 1955, a magical realism style in his works from 1956 to 1965, and a photographic realism style in his works after 1965. It abandoned the relatively harmonious and singular colors in Western classical painting, as well as the strong contrast and composition of pure colors commonly found in modern and contemporary painting, and established its own unique color system. Using traditional realistic painting language, it excavates the beauty of common objects, giving them a strong sense of being on the spot, transcending the limitations of specific scenes, and thus entering the depths of the viewer's soul.

Antonio Lopez Garcia's Atocha

David Hockney (UK, 1937-) created photo collages in his early years. He used Polaroid to collage photos taken from different angles into one image, viewing it as a "new way to see the world.". He is constantly discovering that whether it is the way of viewing or creating, he once said, "Teachers can only impart skills, not poetry."

David Hockney's "The Pear Blossoming Highway"