Landscape in Art


1) To provide students a general reflection on History of Art, based on the
concept of “Landscape”.
2) To understand the transversal dimension of Landscape´s notion, and its
alterations in History of Art.

General characterization





Responsible teacher

Paula Cristina Ramos Ribeiro Lobo


Weekly - 4

Total - 168

Teaching language



Available soon


ANDREWS, Malcom. (1999). Landscape and Western Art, Oxford: Oxford University Press

BERQUE, Augustin. (2013). Thinking Trhough Landscape. London and New York: Routledge

DeLUE, Rachel Ziady; ELKINS, James. (2008). Landscape Theory. New York / London: Routledge

MITCHELL, W. J. T.. (2000). Landscape and Power. Chicago: The University of Chicago Press

WHYTE, Ian D. (2002). Landscape and History since 1500. London: Reaktion Books

Teaching method

This curricular unit is based on sessions that regularly combine an exposition component and a group debate that addresses each topic of the programme. The aim of this methodology is to deepen and consolidate the acquired knowledge and ensure the students´ critical and active involvement in the discussion of referential texts previously selected by the teacher.

Evaluation method

Evaluation Methodologies - elaboration of an individual final essay(40%), final written test(50%), students preparation and participation in the regular class debates(10%)

Subject matter

1. The theme of Landscape as introduction to History of Contemporary Art.
2. Old models and new references in natures representation: 17th century
Dutch painting and 18th century English landscape painting.
3. The cult of natural; and landscape art in France: from Michallon to Huet.
The Salon of 1824.
4. Corot’s aesthetical situation.
5. French Academy, images of progress and the exiled from civilisation:
Rousseau, Daubigny, De la Peña and the Barbizon Schools;.
6. Courbet, Millet and the paths of realism. The role of photography in the
assertion of painting’s new values.
7. Painting of everyday life and urban landscape. From utopian plans of the
1840s to Paris’ image as capital of the world;.
8. Manet and Cézanne or painting as sensation and thought.
9. From Mondrian and the “new image of the world” to Surrealism.
10. The place of landscape in the return to figurative order, new realisms and
nature representation.
11. Land Art and the relation to territory.


Programs where the course is taught: