The term gardenesque was introduced by John Claudius Loudon (1783–1843) in 1832 to describe a style of planting design in accordance with his 'Principle of Recognition'.
49-418: Loudon was worried that picturesque planting could be mistaken for natural growth and argued that for a planting design to be recognizable as a work of art only exotic plants should be used. Later in his career Loudon accepted several other ways of making planting recognizable as art (1) by removing surrounding plants so that a perfect form of the plant was grown (2) by 'high keeping' (intensive maintenance) in
98-427: A colour collection of neutral grays, umbers, ochre and earthen greens that looked like they were pulled from the very soil he painted. A varnish oil medium was used as vehicle to grind his powdered pigments into paint and then used to help apply thin layers of paint which he could easily blend. The dark areas of the painting were kept very thin and transparent with generous amounts of the oil medium. The light striking
147-567: A fluid supple mousse, masterfully whipped and modeled with the brush. According to the art historian H. U. Beck, "In his freely composed seascapes of the 1650s he reached the apex of his creative work, producing paintings of striking perfection." Some of Van Goyen's Works can be seen at the Thyssen Bornemisza Museum in Madrid, one from the public collection ( Winter landscape with figures on ice , 1643) and others from
196-419: A garden (3) by planting in geometrical beds. Though Loudon was clear about his reasons for introducing the gardenesque he gave varied accounts of how the principle could be satisfied. This has given the word a modern English usage which conforms with the etymology of the word ('like a garden') but differs from Loudon's uses of the word. The Oxford English Dictionary gives the following definitions: Partaking of
245-459: A landscape artist with an eye for the genre subjects of everyday life. He painted many of the canals in and around The Hague as well as the villages surrounding the countryside of Delft , Rotterdam , Leiden , and Gouda . Other popular Dutch landscape painters of the sixteenth and seventeenth century were Jacob van Ruisdael , Aelbert Cuyp , Hendrick Avercamp , Ludolf Backhuysen , Meindert Hobbema , Aert van der Neer . Jan van Goyen would begin
294-469: A limited palette of inexpensive pigments. Despite his market innovations, he always sought more income, not only through related work as an art dealer and auctioneer but also by speculating in tulips (he was the last known victim of the tulip mania of the 1630s) and real estate. Although the latter was usually a safe avenue of investing money, in van Goyen's experience it led to enormous debts. Paulus Potter rented one of his houses. Though he seems to have kept
343-420: A painting using a support primarily of thin oak wood. To this panel, he would scrub on several layers of a thin animal hide glue . With a blade, he would then scrape over the entire surface a thin layer of tinted white lead to act as a ground and to fill the low areas of the panel. The ground was tinted light brown, sometimes reddish, or ochre in colour. Next, van Goyen would loosely and very rapidly sketch out
392-424: A selection of provocative formal elements—in short the later appropriation of Humphrey Repton . It is unique that an idea on applied design ( Sharawadgi ) was diffused, which resulted in a typology of gardens that served as a precursor for the picturesque style. These aesthetic preferences were driven by nationalistic statements of incorporating goods and scenery from one's own country, framing mechanisms which dictate
441-513: A simply deliberate, conscious rational decision based on principles of, e.g., symmetry, proportion, and harmony. It could come, for instance, more naturally as a matter of instinctual response involving the non-rational appetites. For instance, Edmund Burke in his 1757 A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful argued that the soft gentle curves appealed to
490-452: A somewhat stiff, mannered style, with a focus on archaeological remains and towering pine trees, followed by several Dutchmen who had also traveled to Rome. Soon, deviating from the classical ideal of perfection in beauty epitomized by healthy, towering trees, landscape painters came to discover the sublimity of the withered old tree; the two withered oaks by Jan van Goyen (1641) are a well-known example. For those who tried to find an answer to
539-682: A supposed southern Japanese Kyūshū dialect pronunciation shorowaji . Wybe Kuitert, a notable scholar of Japanese garden history placed sharawadgi conclusively in the discourse that was on in the circles around Constantijn Huygens a good friend of William Temple, tracing the term as the Japanese aesthetic share'aji (洒落味、しゃれ味) that belonged to applied arts – including garden design. Temple misinterpreted wild irregularity, which he characterized as sharawadgi , to be happy circumstance instead of carefully manipulated garden design. His idea of highlighting natural imperfections and spatial inconsistencies
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#1732797490270588-475: A topic in discourse came up in the late Renaissance in Italy where the term pittoresco began to be used in art writing as seen with Italian authors such as Vasari (1550), Lomazzo (1584), and Ridolfi (1648). The word is applied to the manner of depicting a subject in painting, roughly in the sense of "non-classical" or "painted non-academically" in a similar way as Dutch painters discussed developments in painting in
637-536: A workshop, his only registered pupils were Nicolaes van Berchem , Jan Steen , and Adriaen van der Kabel . The list of painters he influenced is much longer. In 1652 and 1654, he was forced to sell his collection of paintings and graphic art, and he subsequently moved to a smaller house. He died in 1656 in The Hague, still unbelievably 18,000 guilders in debt, forcing his widow to sell their remaining furniture and paintings. Van Goyen's troubles also may have affected
686-419: Is agreeable in a picture" (p. xii). The pictorial genre called "Picturesque" appeared in the 17th century and flourished in the 18th. As well as portraying beauty in the classical manner, eighteenth-century artists could overdo it from top to bottom. Their pre-Romantic sensitivity could aspire to the sublime or be pleased with the picturesque. According to Christopher Hussey , "While the outstanding qualities of
735-445: Is employed in contriving figures, where the beauty shall be great, and strike the eye, but without any order or disposition of parts that shall be commonly or easily observed: and, though we have hardly any notion of this sort of beauty, yet they have a particular word to express it, and, where they find it hit their eye at first sight, they say the sharawadgi is fine or is admirable, or any such expression of esteem. And whoever observes
784-401: The big-game hunter about them and they boasted of their encounters with savage landscapes. Picturesque-hunters tried to "capture" wild scenes, and "fixed" them as pictorial trophies in order to sell them or hang them in frames on their drawing room walls. Gilpin asked: "shall we suppose it a greater pleasure to the sportsman to pursue a trivial animal, than it is to the man of taste to pursue
833-399: The 18th century. The term "picturesque" needs to be understood in relationship to two other aesthetic ideals: the beautiful and the sublime . By the last third of the 18th century, Enlightenment and rationalist ideas about aesthetics were being challenged by accounts of the experiences of beauty and sublimity that involved non-rational elements. Aesthetic experience was not just
882-713: The 1930s and 1940s the editor Hubert de Cronin Hastings used the Architectural Review in his attempt to popularize modern architecture in Britain. Authors who published in the Architectural Review include Paul Nash , John Piper , James Maude Richards , John Betjeman , Nikolaus Pevsner , and Gordon Cullen . Cronin Hastings combined the different landscape philosophies of surrealism , abstraction , neo-romanticism , and rationalism under
931-627: The Carmen Thyssen Collection also shown there ( River Landscape with Ferry boat and Cottages , 1634). Jan van Goyen was famously influential on the landscape painters of his century. His tonal quality was a feature that many imitated. According to the Netherlands Institute for Art History , he influenced Cornelis de Bie , Jan Coelenbier , Cornelis van Noorde , Abraham Susenier , Herman Saftleven , Pieter Jansz van Asch , and Abraham van Beijeren . Van Goyen
980-556: The Continent. The irregular, anti-classical ruins became sought-after sights. Picturesque-hunters began crowding the Lake District to make sketches using tinted portable mirrors to frame and darken the view, known as claude glass , and named after the 17th century landscape painter Claude Lorrain , whose work William Gilpin saw as synonymous with the picturesque and worthy of emulation. These new tourists had something of
1029-434: The Japanese sorowaji , and suggested that Temple coined the word "sharawadgi" himself. These authors placed Temple's discovery in the context of upcoming ideas on the picturesque. P. Quennell (1968) concurred that the term could not be traced to any Chinese word, and favored the Japanese etymology. Takau Shimada (1997) believed the irregular beauty that Temple admired was more likely characteristic of Japanese gardens, owing to
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#17327974902701078-568: The River Wye, and Several Parts of South Wales, etc. Relative Chiefly to Picturesque Beauty; made in the Summer of the Year 1770 , a practical book which instructed England's leisured travellers to examine "the face of a country by the rules of picturesque beauty". Picturesque, along with the aesthetic and cultural strands of Gothic and Celticism , was a part of the emerging Romantic sensibility of
1127-996: The Sharawaggi, or Chinese want of symmetry, in buildings, as in grounds or gardens" (1750). Imaginations of Far Eastern irregularity and sharawadgi returns frequently in the eighteenth and nineteenth century discourse. Multiple authors have attempted to trace the etymology of sharawadgi to various Chinese and Japanese terms for garden design. Two Chinese authors suggested the Chinese expressions saluo guaizhi "quality of being impressive or surprising through careless or unorderly grace" (Chang 1930) and sanlan waizhi "space tastefully enlivened by disorder" (Ch'ien 1940). E. V. Gatenby (1931) proposed English sharawadgi derived from Japanese sorowaji (揃わじ) "not being regular", an older form of sorowazu (揃わず) "incomplete; unequal (in size); uneven; irregular". S. Lang and Nikolaus Pevsner (1949) dismissed these two unattested Chinese terms, doubted
1176-561: The Year 1685 described what he called the taste of the "Chineses" [sic] for a beauty without order. Among us [Europeans], the beauty of building and planting is placed chiefly in some certain proportions, symmetries, or uniformities; our walks and our trees ranged so as to answer one another, and at exact distances. The Chineses scorn this way of planting, and say, a boy, that can tell an hundred, may plant walks of trees in straight lines, and over-against one another, and to what length and extent he pleases. But their greatest reach of imagination
1225-609: The beauties of nature?" Gilpin differentiated picturesque from the Edmund Burke category of the beautiful in the publication Three Essays: On Picturesque Beauty, on Picturesque Travel, and on Sketching Landscape . Gilpin expounded on his experience when traveling the landscape to search for picturesque nature. In 1815 when Europe was available to travel again after the wars, new fields for picturesque-hunters opened in Italy. Anna Brownell Jameson wrote in 1820: "Had I never visited Italy, I think I should never have understood
1274-598: The character of a garden; somewhat resembling a garden or what belongs to a garden. The OED then gives several quotes illustrating various usages of the term: The use of the word gardenesque in UK business has been trademarked by the British e-commerce brand Gardenesque.com . Picturesque Picturesque is an aesthetic ideal introduced into English cultural debate in 1782 by William Gilpin in Observations on
1323-543: The classicism of French landscape painting, the lonely spruce at a wild cataract that caught the sublimity of nature became a recurring theme, most explicitly expressed by Jacob van Ruisdael . This painter painted picturesque garden scenes that can be seen as early representations of picturesque gardens in Europe. Similar landscape naturalism in English gardens emerged within cultural spheres around William and Mary from which
1372-490: The discussion on the picturesque in the English landscape took hold. In England the word picturesque , meaning literally "in the manner of a picture; fit to be made into a picture," was a word used as early as 1703 ( Oxford English Dictionary ), and derived from French pittoresque and the Italian pittoresco . Gilpin's Essay on Prints (1768) defined picturesque as "a term expressive of that peculiar kind of beauty, which
1421-452: The early business prospects of his student and son-in-law Jan Steen , who left The Hague in 1654. Typically, a Dutch painter of the 17th century will fall into one of four categories: a painter of portraits , landscapes , still-lifes , or genre painting. Dutch painting was highly specialized and rarely could an artist hope to achieve greatness in more than one area in a lifetime of painting. Jan van Goyen would be classified primarily as
1470-518: The etymology is "Of unknown origin; Chinese scholars agree that it cannot belong to that language. Temple speaks as if he had himself heard it from travellers". Ciaran Murray emphasizes that Temple used "the Chineses" in blanket reference inclusive of all Oriental races during a time when the East-West dialogues and influences were quite fluid. He also wanted to see similarity between sharawadgi and
1519-408: The heading picturesque . Cronin Hastings advanced his urban planning philosophy as Townscape . In 1944 he published "Exterior Furnishing or Sharawaggi: The Art of Making Urban Landscap". Jan van Goyen Jan Josephszoon van Goyen ( Dutch pronunciation: [ˈjɑɱ vɑŋ ˈɣoːi.ə(n)] ; 13 January 1596 – 27 April 1656) was a Dutch landscape painter. The scope of his landscape subjects
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1568-550: The irregular topography upon which they were built, and compared the Japanese word sawarinai (触りない) "do not touch; leave things alone". Ciaran Murray (1998, 1999) reasons that Temple heard the word sharawadgi from Dutch travelers who had visited Japanese gardens, following the Oxford English Dictionary that enters Sharawadgi without direct definition, excepting a gloss under the Temple quotation. It notes
1617-549: The male sexual desire, while the sublime horrors appealed to our desires for self-preservation. Picturesque arose as a mediator between these opposed ideals of beauty and the sublime, showing the possibilities that existed between these two rationally idealised states. As Thomas Gray wrote in 1765 of the Scottish Highlands: "The mountains are ecstatic […]. None but those monstrous creatures of God know how to join so much beauty with so much horror." The picturesque as
1666-400: The merits of touring the countryside of England. The naturally morose, craggy, pastoral, and untouched landscape of northern England and Scotland was a suitable endeavor for the rising middle classes, and Gilpin thought it almost patriotic to travel the homeland instead of the historically elite tour of the great European cities. One of the major commonalities of the picturesque style movement is
1715-507: The mid 18th century the idea of purely scenic pleasure touring began to take hold among the English leisured class. This new image disregarded the principles of symmetry and perfect proportions while focusing more on "accidental irregularity," and moving more towards a concept of individualism and rusticity. William Gilpin 's work was a direct challenge to the ideology of the well established Grand Tour , showing how an exploration of rural Britain could compete with classically -oriented tours of
1764-625: The overall experience, and a simultaneous embracing of irregular qualities while manipulating the "natural" scenery to promote them. The importance of this comparison lies in its location at the beginning of modernism and modernization, marking a period in which Nature was allowed to become less mathematically ordered but where intervention was still paramount but could be masked compositionally and just shortly after technologically as in Adolphe Alphand 's Parc des Buttes Chaumont and Frederick Law Olmsted and Calvert Vaux 's Central Park . In
1813-399: The painting in these sections would be lost and absorbed into the painting ground. The lighter areas of the picture were treated heavier and opaque with a generous amount of white lead mixed into the paint. Light falling on the painting in a light section is reflected back at the viewer. The effect is a startling realism and three-dimensional quality. The surface of a finished painting resembles
1862-411: The picturesque and connecting qualities of the first two options. This triple definition by Hussey, although modern, is true to the concept of the epoch, as Uvedale Price explained in 1794. The examples Price gave for these three aesthetic tendencies were Handel 's music as the sublime, a pastorale by Arcangelo Corelli as the beautiful, and a painting of a Dutch landscape as the picturesque. During
1911-422: The role of travel and its integration in designing one's home to enhance one's political and social standing. A simple description of the picturesque is the visual qualities of Nature suitable for a picture. However, Lockean philosophy had freed Nature from the ideal forms of allegory and classical pursuits, essentially embracing the imperfections in both landscapes and plants. In this way the idea progressed beyond
1960-485: The scene to be painted with pen and ink without going into the small details of his subject. This walnut ink drawing can be clearly seen in some of the thinly painted areas of his work. For a guide, he would have turned to a detailed drawing. The scene would have been drawn from life outdoors and then kept in the studio as reference material. Drawings by artists of the time were rarely works of art in their own right as they are viewed today. On his palette he would grind out
2009-568: The seventeenth century as "painter-like" ( schilder-achtig ). Highly instrumental in the establishing of a taste for the picturesque in northern Europe was landscape painting, in which the realism of the Dutch played a significant role. This cannot be seen separate from other developments in Europe. Claude Lorrain (1604–1682) was a well-known French painter, who had developed landscape painting in Rome, like Poussin (1594–1665). Both painters worked in
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2058-409: The study of great landscape painters like Claude Deruet and Nicolas Poussin into experimentation with creating episodic, evocative, and contemplative landscapes in which elements were combined for their total effect as an individual picture. The picturesque style in landscape gardening was a conscious manipulation of Nature to create foregrounds, middlegrounds, and backgrounds in a move to highlight
2107-400: The sublime or pleasure with the beautiful. He called it "the picturesque" and qualified it to mean all that cannot fit into the two more rational states evoked by the other categories. A flurry of English authors beginning with William Gilpin and followed by Richard Payne Knight , Uvedale Price , and Humphrey Repton all called for promotion of the picturesque. Gilpin wrote prolifically on
2156-418: The sublime were vastness and obscurity, and those of the beautiful smoothness and gentleness", the characteristics of the picturesque were "roughness and sudden variation joined to irregularity of form, colour, lighting, and even sound". The first option is the harmonic and classical (i. e. beauty); the second, the grandiose and terrifying (i. e. the sublime); and the third, the rustic, corresponding to
2205-429: The town of his birth. Like many Dutch painters of his time, he studied art in the town of Haarlem with Esaias van de Velde . At age 35, he established a permanent studio at The Hague (Den Haag). Crenshaw tells (and mentions the sources) that van Goyen's landscape paintings rarely fetched high prices, but he made up for the modest value of individual pieces by increasing his production, painting thinly and quickly with
2254-607: The word picturesque ", while Henry James exclaimed in Albano in the 1870s: "I have talked of the picturesque all my life; now at last I see it". Though seemingly vague and far away, the Far East, China and Japan, played a considerable role in inspiring a taste for the picturesque. Sir William Temple (1628–1699) was a statesman and essayist who traveled throughout Europe. His essay Upon the Gardens of Epicurus; or Of Gardening, in
2303-499: The work upon the best India gowns, or the painting upon their best screens or purcellans, will find their beauty is all of this kind (that is) without order. (1690: 58) Alexander Pope in a letter of 1724, refers to Temple's Far East: "For as to the hanging Gardens of Babylon, the Paradise of Cyrus, and the Sharawaggi's of China, I have little or no Idea's of 'em"; a few years later Horace Walpole mentions that "I am almost as fond of
2352-517: Was the inspiration for fashioning early 18th-century " Sharawadgi gardens" in England. The most famous example was William Kent 's "Elysian field" at Stowe House built around 1738. Temple's development of fashionable "sharawadgi" garden design was followed by Edmund Burke 's 1757 A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful . Burke suggested a third category including those things which neither inspire awe with
2401-488: Was very broad as he painted forest landscapes, marine paintings, river landscapes, beach scenes, winter landscapes, cityscapes, architectural views and landscapes with peasants. The list of painters he influenced is much longer. He was an extremely prolific artist who left approximately twelve hundred paintings and more than one thousand drawings. Jan van Goyen was the son of a shoemaker and started as an apprentice in Leiden ,
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