My name is Emilia.I believe I was born an artist.It took me some time in my childhood to understand which art suits me best.I tried almost every art stage until I found the art of painting and I stopped looking further.The nature is the main source of inspiration for me.I am deeply touched and I admire her organic order and harmony.It is amazing how nature paints her masterpieces at every step on the way.No one can do better.So I am simply taking some captures on a loan and I rest between the layers of paint the warmth, the comfort and the quietness that I feel.
Works of art illustrating autumn landscapes
Roots in Antiquity
Artists have been painting the landscape since ancient times. The Greeks and Romans created wall paintings of landscapes and gardenscapes. After the fall of the Roman Empire, the tradition of depicting pure landscapes declined, and the landscape was seen only as a setting for religious and figural scenes. This tradition continued until the 16th century when artists began to view the landscape as a subject in its own right. The artistic shift seems to have corresponded to a growing interest in the natural world sparked by the Renaissance.
Rise of the Landscape in the Netherlands
The term “landscape” actually derives from the Dutch word landschap , which originally meant “region, tract of land” but acquired the artistic connotation, “a picture depicting scenery on land” in the early 1500s (American Heritage Dictionary, 2000). The development of the term in the Netherlands at this time was logical because the Netherlands was one of the first places that landscape had become a popular subject for painting. At this time, the rising Protestant middle class sought secular art for their homes, creating the need for new subjects to meet their tastes; landscapes helped fill this need.
Bridge with a Sluice, Jacob van Ruisdael, 1648–1649
Outside of the Netherlands, the genre, or subject, of landscape painting had yet to gain acceptance with the powerful art academies of Italy and France. The hierarchy of respectable painting subjects placed history painting, which included classical, religious, mythological and allegorical themes, above all other subjects. Portraits, genre (scenes of everyday life), still life, and landscapes were seen as inferior subjects for painting. Even as landscapes became acceptable as subjects in the 17th century, they were still often created merely as settings for biblical, mythological, or historical scenes.
Landscape with a Calm, Nicolas Poussin, 1650–1651
Birth of the Classical Landscape
In the 17th century the classical landscape was born. These landscapes were influenced by classical antiquity and sought to illustrate an ideal landscape recalling Arcadia, a legendary place in ancient Greece known for its quiet pastoral beauty. The Roman poet Virgil had described Arcadia as the home of pastoral simplicity. In a classical landscape the positioning of objects was contrived; every tree, rock, or animal was carefully placed to present a harmonious, balanced, and timeless mood. The classical landscape was perfected by French artists Nicolas Poussin and Claude Lorrain. Both artists spent most of their careers in Rome drawing inspiration from the Roman countryside. Italy, at this time, was the preferred location for many artists, who often traveled there with patrons on the Grand Tour. (Learn more in the presentation on this Web site from the past exhibition Italy on the Grand Tour .) Poussin, who in his early years focused his talent on history painting, came later in life to believe that landscapes could express the same powerful emotions as the human dramas depicted in history paintings. From that point on, he worked to elevate landscape to a higher status.
During the 18th century, Italy continued to be a popular source of inspiration for landscape artists, as the Grand Tour’s popularity increased and peaked in the later half of the century. France and England became the new centers of landscape art, although the ideals of 17th-century Dutch and Italian landscapes—including the classical model—retained popularity. While landscapes were often commissioned by patrons, the subject remained low in the hierarchy of the academies, particularly at the Académie Royale in France—an incredibly powerful lorganization that set the standards for what was taught and exhibited in the nation.
Classical Landscape with Figures and Sculpture, Pierre-Henri de Valenciennes, 1788
Acceptance in the Academy
In the late 18th century, Pierre-Henri de Valenciennes changed the tide for landscape painting in France. Like Poussin, he saw landscape painting as worthy of the status of history painting and worked to convince the Academy and his contemporaries. In 1800 he published a groundbreaking book on landscape painting, Eléments de perspective practique . The book emphasized the aesthetic ideal of the “historic landscape,” which must be based on the study of real nature. The success of the book pushed the Academy to create a prize for “historic landscape” in 1817. The next generation of French landscape painters would benefit greatly from Valenciennes’ efforts. Among them was Jean-Baptiste-Camille Corot, who was heavily influenced by the historic landscapes of Valenciennes and by his own travels in Italy.
Irises, Vincent van Gogh, 1889
The Modern Landscape
The 19th century held many milestones for the history of landscape art. As the Industrial Revolution altered the traditions of rural life, the old hierarchy of subjects crumbled. Throughout Europe and North America landscape painting gained a new supremacy. Barbizon painters such as Théodore Rousseau and Charles Daubigny became less concerned with idealized, classical landscapes and focused more on painting out-of-doors directly from nature—a practice known as plein air painting. The 19th century also saw the birth of landscape photography, which would greatly influence the landscape painters’ compositional choices. Revolutionary artists emerged, such as Gustave Courbet, who pushed the boundaries of landscape painting even further by making it both a tactile and visual experience. Courbet’s radical painting techniques and independent spirit paved the way for the next generation of painters to break from the Academy—the Impressionists. The Impressionists, comprised of artists including Claude Monet, Camille Pissarro, Auguste Renoir, and Alfred Sisley, would devote most of their careers to studying and painting the landscape, working most often out-of-doors. The influence of Courbet’s distinct use of paint and the way he structured his landscape views extended well beyond Impressionism, deeply impacting the work of Cézanne and Van Gogh, as well as painters in the 20th century.
Ontario, California, Robert Adams, 1983
© Robert Adams
Photography and the 20th-Century Landscape
In the early 20th century, painters continued to embrace the landscape. As photography gained acceptance as an art form, artists used the medium to create interpretations of the land through pictorialist effects and, later, through formal compositions of close-up, cropped views of the landscape. In America, photographer Ansel Adams captured the country’s attention with his breathtaking views of the wild beauty of the American West. Even though the major artistic movements of the mid-20th century were no longer dominated by the landscape as a subject, the genre’s importance continued as artists responded to fears of increased industrialization, the threat of global destruction, and ecological disasters.
In the second half of the 20th century, the definition of landscape was challenged and pressed to include concepts like urban landscapes, cultural landscapes, industrial landscapes, and landscape architecture. Landscape photography continued to evolve and rise in popularity. American photographers like Robert Adams and William A. Garnett used the medium to raise awareness of conservation concerns. Today, the landscape continues to be a subject artists turn to when contemplating the ways we relate to the places where we live and the impact we as humans have on the land.
AUTUMN SPLENDOR original landscape painting
I am practically in love with every tree. They are so beautiful in my eyes. So beautiful in their various stages of metamorphosis. So beautiful in their dramatically changing conditions and moods. So beautiful that they became my favorite subject to paint. I love the energy that I feel around them, the comfort that they bring in my soul, the strong connection with the earth that they teach me. I love the bunch of colors they radiate when bathed in light and how this palette changes during different seasons, different hours even. This original acrylic painting is done on stretched cotton canvas. Sides of the painting are painted so it is ready to hang. The painting will be sent safely packed within 4 working days after the purchase. A certificate of authenticity will be enclosed.
AUTUMN SPLENDOR original landscape painting was created by artist Emilia Milcheva in 2018. This art piece , which is part of the I LOVE AUTUMN portfolio, is a Paintings artwork. The style of this artwork is best described as Fine Art, Impressionism. The genre portrayed in this piece of art is Land Art, Landscape, Nature. The artwork was created in Acrylic, Canvas. The size of the original art is 27 (inches) H x 20 (inches) W.
Words which artist Emilia Milcheva feels best describe this work of art are: autumn, autumnal, landscape, original, fine, art, painting, unique, wall, decor, hanging, home, trees, foliage, leaves, vivid, vibrant, impressionistic, impressionism, .
Artwork Details
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Title: Autumn Landscape with a Flock of Turkeys
Artist: Jean-François Millet (French, Gruchy 1814–1875 Barbizon)
Medium: Oil on canvas
Dimensions: 31 7/8 x 39 in. (81 x 99.1 cm)
Credit Line: Mr. and Mrs. Isaac D. Fletcher Collection, Bequest of Isaac D. Fletcher, 1917
Accession Number: 17.120.209
Millet wrote to his patron Frédéric Hartmann on February 18, 1873 that he had nearly completed this picture for the dealer Durand-Ruel and hoped to deliver it the following week: “It is a hillock, with a single tree almost bare of leaves, and which I have tried to place rather far back in the picture. The figures are a woman seen from behind and a few turkeys. I have also tried to indicate the village in the background on a lower plane.” The setting is near Barbizon, where Millet lived from 1849 until his death. In the center of the picture, what appears to be a chimney attached to the roof of a cottage has been identified as the ruined tower of the neighboring hamlet of Chailly-en-Bière, which was used as an open-air furnace (Herbert 1976, p. 214).
The effect Millet described, of placing the hill “rather far back in the picture” is similar, if less exaggerated, than in a striking composition of the same size, In the Auvergne (ca. 1867–69; Art Institute of Chicago). In these late works Millet revealed himself to be a highly original, even idiosyncratic landscape painter. A probable catalyst in this development was the death in 1867 of Théodore Rousseau, which prompted Hartmann to ask Millet to complete some landscapes by the late artist that had been paid for, but which had been left unfinished (Herbert 1976, p. 29). In any case, setting, including both time and place, had long been an instrinsic feature of Millet’s peasant subjects. Here, against the darkening sky, the inevitability of winter is stayed fleetingly by the contrasting sunlight that picks out three birds to the right of the tree and the grass among the rocks at the lower right, which is longer where it would have been more difficult to cut.
Six sketches for this picture were owned by the Leicester Galleries, London, in 1961 (see Herbert 1962, where they are dated about 1868–70). A chalk drawing after the picture by Alfred Robaut is in The Met (61.176). The composition was etched by Vallotton.
Asher Ethan Miller 2015
Inscription: Signed (lower right): J.F. Millet
[Durand-Ruel, Paris; bought from the artist in May 1872 for Fr 12,300; Durand-Ruel stock 1868–1873, no. 2592; sold March 8, 1873, for Fr 30,000 to Mélas]; Michail Mélas, Marseilles (1873–74; his sale, Hôtel Drouot, Paris, April 30, 1874, no. 49, as “L’automne,” for Fr 13,020); [M. Lannoy, Paris, 1874–75; sold for Fr 22,500 to Dupont]; J. Dupont, Antwerp (from 1875); Samuel P. Avery, New York (until about 1883; sold for $6,500 to Dana); Charles A. Dana, New York (by 1883–d. 1898; his estate sale, American Art Association, New York, February 24–26, 1898, no. 591, as “The Turkey Herder,” for $20,500 to Schaus); [Hermann Schaus, New York, 1898]; Mr. and Mrs. Isaac D. Fletcher, New York (1898–his d. 1917)
Brussels. Galerie Ghémar. “Exposition de tableaux modernes au profit de la caisse centrale des artistes belges; Collection de MM. P. L. Everard & cie, Flemish Gallery Londres,” January 22–February 20, 1876, no. 173 [see Herbert 1976].
New York. National Academy of Design. “Pedestal Fund Art Loan Exhibition,” December 3, 1883–January 1, 1884, no. 6 (as “The Turkey Guardian,” lent by Chas. A. Dana).
New York. American Art Galleries. “Works of Antoine-Louis Barye Exhibited at the American Art Galleries under the Auspices of the Barye Monument Association, also of Paintings by J. F. Millet and Others, his Contemporaries and Friends,” November 15, 1889–January 15, 1890, no. 614 (as “The Turkey Keeper,” lent by Charles A. Dana).
New York. The Metropolitan Museum of Art. “Mr. & Mrs. Isaac D. Fletcher Collection,” March 4–?, 1918, no catalogue.
Cambridge, Mass. Fogg Art Museum. “Exhibition of French Painting of the Nineteenth and Twentieth Centuries,” March 6–April 6, 1929, no. 63 (as “Autumn”).
New York. The Metropolitan Museum of Art. “Landscape Paintings,” May 14–September 30, 1934, no. 44 (as “Autumn”).
Newark Museum. “19th-Century French and American Paintings from the Collection of The Metropolitan Museum of Art,” April 9–May 15, 1946, no. 21 (as “Autumn”).
Paris. Grand Palais. “Jean-François Millet,” October 17, 1975–January 5, 1976, no. 242 (as “Gardeuse de dindons, l’automne”).
London. Hayward Gallery. “Jean-François Millet,” January 22–March 7, 1976, no. 145.
Southampton, N.Y. Parrish Art Museum. “In Support of Liberty: European Paintings at the 1883 Pedestal Fund Art Loan Exhibition,” June 29–September 1, 1986, no. 64.
New York. National Academy of Design. “In Support of Liberty: European Paintings at the 1883 Pedestal Fund Art Loan Exhibition,” September 18–December 7, 1986, no. 64.
Naples. Museo di Capodimonte. “Capolavori Impressionisti dei Musei Americani,” December 3, 1986–February 1, 1987, no. 27.
Milan. Pinacoteca di Brera. “Capolavori Impressionisti dei Musei Americani,” March 4–May 10, 1987, no. 27.
Leningrad [St. Petersburg]. State Hermitage Museum. “From Delacroix to Matisse,” March 15–May 10, 1988, no. 11.
Moscow. Pushkin State Museum of Fine Arts. “From Delacroix to Matisse,” June 10–July 30, 1988, no. 11.
New York. IBM Gallery of Science and Art. “The Rise of Landscape Painting in France: Corot to Monet,” July 30–September 28, 1991, no. 90.
New York. The Metropolitan Museum of Art. “Barbizon: French Landscapes of the Nineteenth Century,” February 4–May 10, 1992, no catalogue.
Fort Lauderdale. Museum of Art. “Corot to Cézanne: 19th Century French Paintings from The Metropolitan Museum of Art,” December 22, 1992–April 11, 1993, no catalogue.
Museum of Fine Arts, Houston. “The Masterpieces of French Painting from The Metropolitan Museum of Art: 1800–1920,” February 4–May 6, 2007, no. 21.
Berlin. Neue Nationalgalerie. “Französische Meisterwerke des 19. Jahrhunderts aus dem Metropolitan Museum of Art,” June 1–October 7, 2007, unnumbered cat.
Palais des Beaux-Arts de Lille. “Jean-François Millet,” October 13, 2017–January 22, 2018, no. 86 (as “Gardeuse de dindons, l’automne”).
Jean-François Millet. Letter to Monsieur [Frédéric] Hartmann. February 18, 1873 [published in Alfred Sensier, “La Vie et l’oeuvre de J.-F. Millet,” Paris, 1881, p. 356 and in English in Julia Cartwright, “Jean François Millet: His Life and Letters,” New York, 1902, p. 336], describes this painting, which he hopes to finish and deliver to Durand-Ruel in the following week.
J. Dupont. Letter to Ph. de Chennevières. May 14, 1875 [excerpt published in Ref. Herbert 1976, p. 215], offers this picture, which he calls “Gardeuse de dindons,” for Fr 30,000 to the Director of Fine Arts for the collection of the Louvre.
E[mile]. Durand-Gréville. “La Peinture aux États-Unis: Les Galeries privées (1er article).” Gazette des beaux-arts, 2nd ser., 36 (July 1887), p. 73.
John W. Mollett. The Painters of Barbizon: Millet, Rousseau, Diaz, Corot, Daubigny, Dupré. London, 1895, pp. 116, 119, as “Turkeys”; lists an etching by Vallotton.
Isaac D. Fletcher. Letter to Mrs. Henry Hornblower. May 1, 1899, calls it “The Turkey Herder”; notes that it depicts the same plain outside Barbizon with the same church in the distance that is represented in “The Angelus” (1857–59; Musée d’Orsay, Paris).
Louis Soullié. Peintures, aquarelles, pastels, dessins de Jean-François Millet relevés dans les catalogues de ventes de 1849 à 1900. Paris, 1900, pp. 51–52, as “L’Automne”.
Paul Durand-Ruel. Mémoires de Paul Durand-Ruel. 1911–12 [published in Lionello Venturi, “Les Archives de l’impressionnisme,” Paris, 1939, vol. 2, p. 185], calls it “La Gardienne de dindons”; notes that he received this picture from Millet and that it was later in the collection of Mr. Dana.
Eliot Clark. “The Fletcher Collection at the Metropolitan Museum: The Landscapes.” Art World and Arts & Decoration 9 (August 1918), pp. 207, 209.
“The Mr. and Mrs. Isaac D. Fletcher Collection.” Metropolitan Museum of Art Bulletin 13 (March 1918), p. 60, as “Autumn”.
Josephine L. Allen and Elizabeth E. Gardner. A Concise Catalogue of the European Paintings in The Metropolitan Museum of Art. New York, 1954, p. 68.
Robert L. Herbert. Letter to Mrs. Leonard Harris. January 19, 1962, describes six drawings for this picture seen at the Leicester Galleries, London, in 1961; dates the painting about 1870–74 and the sketches about 1868–70.
Charles Sterling and Margaretta M. Salinger. French Paintings: A Catalogue of the Collection of The Metropolitan Museum of Art. Vol. 2, XIX Century. New York, 1966, pp. 91–93, ill., suggest a date between 1870 and 1874.
Anne Reverdy. L’École de Barbizon: Évolution du prix des tableaux de 1850 à 1960. Paris, 1973, pp. 22–23.
Robert Herbert. Jean-François Millet. Exh. cat., Hayward Gallery. [London], 1976, pp. 214–15, no. 145, ill. [French ed., Paris, 1975, pp. 290–91, no. 242, ill.], dates it 1872–73, noting that the canvas may have been begun in 1868–70 when Millet appears to have made some of the preparatory drawings; identifies the village in the background as Chailly and the tower in the center as a ruin that was used as an open-air furnace.
Lydie Huyghe in René Huyghe. La Relève de l’imaginaire. La Peinture française au XIXe siècle: Réalisme, romantisme. Paris, 1976, p. 467.
André Fermigier. Jean-François Millet. New York, 1977, pp. 129–30, 133, ill. p. 128 (color) [French ed., Geneva, pp. 124, 127, ill. (color)].
Sarah Burns. “A Study of the Life and Poetic Vision of George Fuller (1822–1884).” American Art Journal 13 (Autumn 1981), p. 30, mentions it as a precedent in Barbizon art for Fuller’s turkey herders.
Maureen C. O’Brien in Maureen C. O’Brien. In Support of Liberty: European Paintings at the 1883 Pedestal Fund Art Loan Exhibition. Exh. cat., Parrish Art Museum. Southampton, N.Y., 1986, pp. 24, 36, 39, 96, 170–71, no. 64, ill. p. 171 and colorpl. XXXII, dates it about 1870–74.
Ronald G. Pisano in Maureen C. O’Brien. In Support of Liberty: European Paintings at the 1883 Pedestal Fund Art Loan Exhibition. Exh. cat., Parrish Art Museum. Southampton, N.Y., 1986, p. 69.
Gary Tinterow et al. Capolavori impressionisti dei musei americani. Exh. cat., Museo di Capodimonte, Naples. Milan, 1987, pp. 64–65, no. 27, ill. (color).
Michael Brenson. “French Landscape Painting, The Seed of Impressionism.” New York Times (August 2, 1991), p. C22.
Roger Hurlburt. “Free Spirits.” Sun-Sentinel (Fort Lauderdale) (December 20, 1992), p. 4D.
Katharine Baetjer. European Paintings in The Metropolitan Museum of Art by Artists Born Before 1865: A Summary Catalogue. New York, 1995, p. 419, ill.
Susan Alyson Stein in The Masterpieces of French Painting from The Metropolitan Museum of Art: 1800–1920. Exh. cat., Museum of Fine Arts, Houston. New York, 2007, pp. 41, 235, no. 21, ill. (color and black and white).
Susan Alyson Stein in Masterpieces of European Painting, 1800–1920, in The Metropolitan Museum of Art. New York, 2007, pp. 49, 276–77, no. 46, ill. (color and black and white).
Chantal Georgel. Millet. Paris, 2014, p. 102, colorpls. 77, 78.
Simon Kelly in Inventing Impressionism: Paul Durand-Ruel and the Modern Art Market. Ed. Sylvie Patry. Exh. cat., Musée du Luxembourg, Paris. London, 2015, pp. 70–71, 275 n. 45 [French ed., “Paul Durand-Ruel: le Pari de l’Impressionnisme,” Paris, 2014, pp. 57, 218 n. 45], notes that Durand-Ruel bought it from Millet in May 1872 for Fr 12,300 and that he sold it to Mélas on March 8, 1873, for Fr 30,000 (citing Durand-Ruel stock 1868–1873, no. 2592).
Chantal Georgel in Millet. Exh. cat., Palais des Beaux-Arts de Lille. Paris, 2017, p. 30.
Chantal Georgel et al. Millet. Exh. cat., Palais des Beaux-Arts de Lille. Paris, 2017, p. 143, no. 86, ill. p. 121 and back cover (color).
