Page:The New International Encyclopædia 1st ed. v. 11.djvu/817

* LANDS. 741 LANDSCAPE. The ranges are bounded by meridian lines six miles apart, and numbered east and west from a principal meridian. These are divided into town- ships six miles square, numbered north and south from a given parallel. The townships are sub- divided into thirty-si. sections, each one mile square, and these are again subdivided into quar- ter sections. In spite of the fact that nearly 7.38,000,000 acres have been withdrawn from the public do- main, there are still left, according to the estimates of the General Land (Ulice. about 1,071. 88 1,GIJ2 acres, of which 917,135,880 acres are unappro- priated and unreserved, the total value being esti- mated at about .$1,000,000,000. In the meantime that part of the public domain which is still un- di.sposed of is being taken up at a rapid rate. The report of the Commissioner shows that dur- ing the fiscal year ending .June 30, 1900, more than 13.000,000 acres were disposed of. The pre- ceding table is an appro.ximate estimate of the public lands undisposed of reserved, and already appropriated. LANDSBERG-AN-DER-WARTHE, lants'- b^rK-an-derviir'tp. A tipwn in the Province of Brandenburg, Prussia, on the W'arthe. 40 miles northeast of Frankfort-on-the-Oder ( ilap : Prus- sia, F 2) . It contains a theatre, a museum, and a gymnasium. The chief manufactures are machin- ery and iron products, trimmed lumber, furni- ture, bricks, starch, etc. Landsberg was found- ed in 1257, and strongly fortified during the seventeenth centurv. Population, in 1890, 28,- 065; in 1900, 33.597. LANDSCAPE. In painting, a picture repre- senting natural scenery, with or without acces- sories of men and animals, which must be sub- sidiary. The modern feeling for landscape was un- known to Greek art. the human figure absorbing all attention. It was not awakened until Alex- andrine times, and in the Roman epoch both landscapes and marines were common. The prin- cipal surviving examples are the Odyssey land- scapes (VaticanI, found upon the Esquiline Hill, and some of the mural decorations at Pompeii and Hcrculanipum. In Byzantine art and during the MidiUe Ages there was no sense of landscape, gold backgroimds being used for the religious pictures. The first efTective use of landscapes as back- grounds was made in Flanders by the brothers Van Eyck (c.l400), who, through the medium of their oil technique, rendered admirably the ef- fects of light and atmosphere. i Sw Etck. ) This practice was continued by their followers, and by the German school of the fifteenth and sixteenth centuries, Diirer achieving especial suc- cess in drawings and engravings of landscapes. The Florentine and Venetian painters of the fif- teenth century made delightful use of landscape as backgrounds, as is especially seen in the works of Filippo Lippi, Perugino. Leonardo, and Ra- phael. Correggio lent it a subtle charm, but the most important contributions were made by the Venetians, who showed the effects of sunlight and atmosphere. This was especially done by Bellini and by Giorgione. with whom the land- scape assumes equal importance with the figures painted. Titian used it even more independently, treating landscape in such a way as to give it an ideal and heroic character. The Carracci and the Eclectics developed this phase even further, paint- ing landscapes independent of figures. This so- called classic landscape found its culmination in the seventeenth century at Rome, under the hand of Nicolas and Gaspar Poussin, and especially Claude Gelee (Lorraine), who mastered color and light effects. Equally heroic, but more nat- uralistic, was the contemporary work of Salvator Kosa in the South. The classic landscape, which represented Italian scenes only, had representa- tives of ability in all European countries. Meanwhile landscape art of quite a different character had arisen during the .seventeenth cen- tun,' in the Netherlands, not so much in Flanders as in Holland. It sought to portray nature as it was, without classic reminiscences, delighting especially in the woodland scenes of Holland, and used sad rather than brilliant colors. One of the earliest representatives was Van Goyen, and the school culminated in Ruysdael and Hobbema. Rembrandt, too, was equally important in land- scape, which he rendere<l with emphasis of great central truths. There were important marine painters, and with the chief animal painters like Paul Potter, Aelbert Cuyp, and W'ouverman, the landscape was of equal importance with the ani- mals. In the eighteenth centup- landscape paint- ing declined in Europe, although in France Wat- teau and Lancret used it with success in their idyllic scenes; in the Far East, the .Japanese (Hokusai, Outamaro, Hirosliighe) painted fine decorative representations of nature simplified. The impetus to the modern development of landscape painting came from England. A great forerunner was Gainsborough in the eighteenth century, but the two chief representatives were Turner and Constable in the early nineteenth. The former, influenced by Claude, represented the classical side, and in his treatment of light ef- fects anticipated the Impressionists. The latter's great innovation was the use of fresh natural colors and the selection of English scenes. His work and that of Bonington gave rise to the galaxy of French painters of the Fontainebleau- Barbizon group. .Just before this the Roman- ticists had somewhat improved classic tradition in France, making the landscapes glad or sad, according to the figures and action represented. The great contribution of the Barbizon painters (Rousseau. Corot, Dupre, Diaz, Daubigny, Millet, and Troyon) was the portrayal of the sentiment of color and light. By his absolutely realistic portrayal of nature Courbet prepared the way for Impressionism; a further impulse toward bright- er color came from the Orientalists (Decamp, Fromentin. Zieni). The latest manifestation of the landscape is that of the Impressionist school (q.v.l. which has obtained the greatest results in light effects (Raffaelli, Pissaro, Claude Monet, etc.). In Germany, during the nineteenth century, the classic idea found its chief representatives in Rottmann and Preller: while the Diisseldorf school (q.v.), especially Karl Frederick Les- sing, stood for the Romantic idea. A broadening influence was exercised by Scandinavian artists, who were active in Germany. Artists began to travel everywhere, finding interesting subjects, but producing no really great pictures. Switzer- land produced remarkable artists in Calnme, the painter of mountain scenes, and Biicklin dlidl 1001). who depicted fantastic scenes brilliantlv colored. Chiefly under French influence, schools of landscape have developed in the Scandinavian