Who among us has not admired the majestic and charming views of the city, infinitely diverse, evoking equally diverse feelings and emotions! Fabulous silhouettes of ancient city walls and towers, majestic bulks of palaces and public buildings, attractive and impressive arrays of residential buildings, powerful groups of industrial and other structures - the result of creative thought and creative work of generations of many centuries or the result of heroic and ingenious transformations.

It is not surprising that the pictures of the city inspired and continue to inspire the artist's creative thought.

The cities of our homeland provide a limitless choice of exciting subjects for artists.

Stalin's five-year plans for grandiose socialist construction are transforming the face of our country from year to year. (One after another, before everyone’s eyes, new cities grow up, old ones are reconstructed and expanded, changing their appearance beyond recognition, which has remained unchanged for decades. New giants of Soviet industry are emerging, grandiose structures are being erected - hydroelectric stations, bridges, dams, canals and many, many others , a wide variety of names and purposes.

This construction, by its appearance, by its architecture, speaks of a new life, of new achievements of free socialist labor. It inspires and attracts to new exploits and victories.

The themes of our urban, industrial and architectural landscape are countless and extremely grateful for the artist in their emotional significance and beauty.

That is why young artists should not only get acquainted with this section of drawing and painting, but also try their hand at creative work on its subjects.

Architecture has long attracted artists - painters and graphic artists - not only a cap compositional element of the picture, reflecting the real situation of the action or the environment of the depicted object, but also the beauty of architectural volumes and forms that are perfectly combined with nature, the human figure, the movement of the crowd, the colors of decoration and costume . However, the image of architecture for a long time had a decorative character and did not leave the conventions of the flat style.

Realistic, faithful and expressive in terms of volume and space, the transfer of more or less complex architectural forms, organized into ensembles and groups, became possible only after the laws of perspective were explored and revealed in the 15th century, during the Italian Renaissance.

The science of perspective has developed more and more over time, and in our time has been brought to such perfection that its rules not only allow us to depict objects when drawing them from life, but also reproduce the appearance of objects created by the creative imagination of the artist.

In addition to knowing the laws of perspective, in order to successfully work on the urban landscape and architectural motifs, the artist must become more familiar with the art of architecture and architectural forms.

As you know, this oldest of the arts, creating buildings and structures, endows them with such forms and external signs that make it possible to guess the purpose of structures by appearance, determine the relationship of one part of it to another and their interconnection, distinguish the main from the secondary.

Organizing the space and processing the volumes, planes and details of the structure, the architect is guided by the artistic image and architectural idea he creates.

With extensive practice in drawing from life, the inquisitive eye of the artist gradually learns to understand the features of construction and the stylistic character of architectural forms, even of considerable complexity. However, for a conscious attitude to Nature, an acquaintance with history is necessary.

It goes without saying that independent compositional work on any complex architectural topics cannot be successful without sufficient special knowledge.

The reproductions given here from drawings and paintings by the masters of the urban and architectural landscape - painters and architects - make it possible to analyze the moments of the compositional order and get acquainted with the techniques of execution.

It is immeasurably more useful to conduct such a study on the originals, which represent this region of drawing and painting in our art galleries and museums.

Famous masters of the architectural landscape were the Venetian painters Antonio Canaletto (1697-1768), Bernardo Belotto (1720-1789), Francesco Guardi (1712-1793), D. Panni-ni (1695-1768), the Venetian architect and etcher Giovanni Battista Piranesi (1720-1778), French artist Hubert Robert (1733-1778).

The works of Russian masters are excellent: An. Velsky (1730-1796), F. Alekseev (1755-1824), Sylvester Shchedrin (1791-1830), Galaktionov (1779-1854), M. Vorobyov (1787-1855).

Brilliant examples of the architectural landscape and architectural fantasies and perspectives can be found in the drawings of architects: M. Kazakov (1738-1813), Giacomo Quarenghi (1744-1817), A. Voronikhin (1760-1813), P. Gonzago (1751-1831) and others

Here are a few practical observations related to working from nature, which are useful to consider for beginning young artists working on the architectural landscape.

A good choice of the point from which a sketch of a city view, architectural landscape or architectural monument is made is of great importance. This problem must be solved in the most advantageous way, both in terms of the overall composition and in terms of the most expressive characteristic of the main theme of a given drawing or pictorial study. In this direction, you need to develop your artistic flair in every possible way, studying classical patterns of composition in the visual arts and the endless beauties of nature. Sometimes it can be difficult to immediately stop at the choice of the most artistically advantageous borders of the picture.

The reason for this may be the vast scale of the urban view or architectural landscape that stretches before us, the numerous architectural details that equally attract the eye of the artist and are equally tempting for him.

It should be borne in mind that it is more expedient for novice artists to limit themselves to simpler and less specific subjects at first, moving on to work on more complex topics gradually.

In working on architectural landscapes, the young artist must move from the main, from the main to particulars, to the secondary. The drawing should be based on the correct perspective construction of forms. The drawing must first of all clearly imagine the position of the horizon, the vanishing point, the points of deviation of the lines, etc.

Perspective constructions when drawing from life can be reduced to the simplest schemes of techniques. They are very elementary and concern only the basic constructions and basic forms. The necessary techniques, evenness must be carefully studied by nature and drawn, guided by the rules of perspective, in full agreement with the main perspective scheme.

An architectural landscape artist should be especially demanding of himself when he analyzes the structure of architectural masses, volumes and forms, determines their mutual constructive connection, establishes relationships and proportions, seeks out the nature of the movement and rhythm of architectural masses and lines. The portrait similarity of the image for architectural subjects is of exceptional importance. Ego follows from the conditions of harmonic regularity and completeness of architectural forms.

The plans of city views and the architectural landscape that go far into the depths of the picture, the spatiality and relief plasticity of architectural exteriors and interiors, the effects of light and shadow, the air haze of distances and the transparency of shadows will undoubtedly catch the attention of the young artist. He must strive for their faithful, lively and artistic transmission, given that a significant proportion of the charm and persuasiveness of his drawings and studies depends on this.

ARCHITECTURAL LANDSCAPE - the concept is borrowed from the works of A.I. Kaplun, who sees in it a high expression of the unity of ARCHITECTURE with nature as the most important means of artistry of the architectural ENSEMBLE (see Kaplun A.I. “Style and Architecture>>. - M., 1983).

ARCHITECTURAL LANDSCAPE - a genre variety of landscape, an image in painting and graphics of real or imaginary architecture in a natural environment. In the architectural landscape, linear and aerial perspective plays an important role, allowing nature and architecture to be connected together. It is possible to single out urban perspective views in the architectural landscape, in the 18th century. called veduta (Antonio Canaletto, Francesco Guardini, F.Ya. Alekseev), types of villas, estates, park ensembles with buildings, landscapes with ancient or medieval ruins (Hubert Robert, S.F. Shchedrin, F.M. Matveev), fantastic landscapes with imaginary buildings and ruins (Giovanni Battista). The architectural landscape is often a type of perspective painting.

Publications in the Architecture section

Architecture in the paintings of domestic artists

Panoramas of the capital's streets, architectural monuments, buildings that no longer exist, wooden boats scurrying along the Neva and the Moscow River - all this can be seen in the paintings of the urban landscape masters of the late 18th - first half of the 20th century. About 10 artists of this genre - in the material of the portal "Culture.RF".

Fedor Alekseev. View of the Resurrection and Nikolsky Gates and the Neglinny Bridge from Tverskaya Street in Moscow (detail). 1811. State Tretyakov Gallery, Moscow

Fedor Alekseev. Red Square in Moscow (detail). 1801. State Tretyakov Gallery, Moscow

Fedor Alekseev. View of the Spit of Vasilyevsky Island from the Peter and Paul Fortress (detail). 1810. State Russian Museum, St. Petersburg

Fedor Alekseev began his creative career with the cityscapes of Venice, where he lived as a pensioner from the Academy of Arts. Returning to Russia, he painted views of the Crimea, Poltava, Orel, but he became famous for his paintings depicting Moscow and St. Petersburg. The most famous canvases of his Moscow cycle - "Red Square in Moscow" and "View of the Resurrection and Nikolsky Gates and the Neglinny Bridge from Tverskaya Street in Moscow" - are today kept in the Tretyakov Gallery. The main St. Petersburg paintings of the artist - "View of the Spit of Vasilevsky Island from the Peter and Paul Fortress" and "View of the English Embankment" can be viewed in the collection of the Russian Museum.

Alekseev’s paintings are interesting not only from an artistic point of view, but also from a historical point of view: for example, the painting of the 1800s “View of the Church of St. Nicholas the Big Cross on Ilyinka” depicts a baroque church of the late 17th century, which was demolished in 1933. And thanks to the painting “View of the Kazan Cathedral”, you can find out that initially there was a wooden obelisk in front of this St. Petersburg temple. Over time, it fell into disrepair, and in the 1820s it was removed from the square.

Maxim Vorobyov. View of the Moscow Kremlin (from the Ustyinsky bridge) (detail). 1818. State Tretyakov Gallery, Moscow

Maxim Vorobyov. View of the Kazan Cathedral from the western side (detail). First half of the 1810s. State Russian Museum, St. Petersburg

Maxim Vorobyov. Peter and Paul Fortress (detail). Late 1820s. State Russian Museum, St. Petersburg

He also portrayed other Petersburg suburbs - Peterhof, Pavlovsk, Gatchina and, in fact, Petersburg itself. Among the artist's works are "Apollo's Cascade and the Palace", "View of the Kamennoostrovsky Palace", "View of the Big Pond Island in Tsarskoye Selo Gardens", "Rural Yard in Tsarskoye Selo". And although Semyon Shchedrin was a master of the urban landscape, he painted architectural objects rather conventionally. The main attention of the artist was given to nature - art historians consider him a harbinger of the Russian lyrical landscape.

Stepan Galaktionov. View of the Neva from the Peter and Paul Fortress (detail). 1821. All-Russian Museum of A.S. Pushkin, St. Petersburg

Stepan Galaktionov. Fountain in the park. (fragment). 1820. Sevastopol Art Museum named after P.M. Kroshitsky, Sevastopol

Stepan Galaktionov. Cottage in the park (detail). 1852. Tyumen Museum of Fine Arts, Tyumen

Stepan Galaktionov was not only a painter and watercolorist, but also a brilliant engraver: he was one of the first in Russia to master the technique of lithography - stone engraving. The main source of inspiration for Galaktionov was the architectural monuments of St. Petersburg. He participated in the creation of an album of lithographs "Views of the suburbs and environs of St. Petersburg", which was supervised by the artist Semyon Shchedrin in 1805. This collection includes his works: “View of the Kamenny Island Palace from the dacha of Count Stroganov” and “View of the Monplaisir Palace” in Peterhof, “View of the Temple of Apollo with the Cascade in the garden of the Pavlovsky Palace” and “View of a part of the palace from the side of a large lake in the city of Gatchina” . Subsequently, he also participated in the work on the collection "Views of St. Petersburg and its environs", published in 1825 by the Society for the Encouragement of Artists.

Vasily Sadovnikov. View of the embankment and the Marble Palace (detail). 1847. State Hermitage, St. Petersburg

Vasily Sadovnikov. View of the Neva and the Peter and Paul Fortress. 1847. State Hermitage, St. Petersburg

Vasily Sadovnikov. View of the Neva and the Peter and Paul Fortress (detail). 1847. State Hermitage, St. Petersburg

The self-taught artist Vasily Sadovnikov painted the architecture of St. Petersburg while still a serf of Princess Natalya Golitsyna. Having received his freedom, he entered the Academy of Arts, where Maxim Vorobyov became his teacher.

Numerous views of the Winter Palace are known, painted by Sadovnikov on behalf of Emperors Nicholas I and Alexander II. But the most famous work of the artist is the 16-meter watercolor "Panorama of Nevsky Prospekt", on which he worked for 5 years - since 1830. On it, the main street of St. Petersburg is drawn in both directions - from Admiralteiskaya Square to Anichkov Bridge. The artist depicted in detail in the picture each house on Nevsky Prospekt. Later, the publisher Andrei Prevost released separate parts of this panorama in the form of lithographs, the series consisted of 30 sheets.

Among other metropolitan paintings of the artist - "View of the embankment and the Marble Palace", "Court exit from the main entrance of the Grand Palace in Peterhof", "Field Marshal's Hall". On the work "Departure of the stagecoach from St. Isaac's Square" the cathedral is depicted at the construction stage.

In addition to St. Petersburg, Sadovnikov painted cityscapes of Moscow, Vilnius, and Helsinki. One of the last works of the artist was the panorama of St. Petersburg from the Pulkovo Heights.

Andrey Martynov. View of the palace of Peter I in the Summer Garden (detail). 1809-1810. State Hermitage Museum, St. Petersburg

Andrey Martynov. View of the Gulf of Finland from the balcony of the Oranienbaum Palace (detail). 1821-1822. State Hermitage Museum, St. Petersburg

Andrey Martynov. View of Nevsky Prospekt from the Fontanka to the Admiralty (detail). 1809-1810. State Hermitage Museum, St. Petersburg

Among the first independent works of the master of landscape painting Andrey Martynov are Italian views. After graduating from the Academy of Arts, the artist lived as a pensioner in Rome. Returning from Italy to his homeland, Martynov painted views of St. Petersburg using various techniques, including watercolor and engraving. To print engravings, Martynov even opened his own lithographic workshop.

Among the famous works of the artist are “The Bank of the Bolshaya Embankment in St. Petersburg from Liteinaya to the Summer Garden”, “Along the Summer Garden to the buildings of the Marble Palace”, “From Moshkov Lane along the buildings of the Winter Palace”.

Martynov traveled a lot, he visited Beijing with the Russian ambassador. Later, the artist released a lithographic album "A picturesque journey from Moscow to the Chinese border." On trips, Martynov drew ideas for his paintings, he also captured views of the Crimea and the Caucasus. The artist's works can be seen in the collections of the State Tretyakov Gallery, the State Russian Museum and the Museum of Fine Arts named after A.S. Pushkin.

Carl Beggrov. In the Summer Garden (detail). 1820s State Russian Museum, St. Petersburg

Carl Beggrov. Arch of the General Staff Building (detail). 1822. All-Russian Museum of A.S. Pushkin, St. Petersburg

Carl Beggrov. Triumphal gates (detail). 1820s State Russian Museum, St. Petersburg

Karl Beggrov painted landscapes, however, unlike the son of the marine painter Alexander Beggrov, he painted not sea views, but city views. A student of Maxim Vorobyov, he painted a large number of watercolors and lithographs with landscapes of St. Petersburg.

In 1821-1826, Karl Beggrov created a series of lithographs, which were included in the collection Views of St. Petersburg and its environs. Among them, for example, "View of the arch of the General Staff". After the publication of this album, Beggrov worked more in watercolor, but still painted mainly St. Petersburg - for example, "In the Summer Garden" and "Triumphal Gates". Today, the works of Karl Beggrov are kept in the State Tretyakov Gallery, the State Russian Museum, the State Hermitage and museums in other cities.

Alexander Benois. Greenhouse (detail). 1906. State Tretyakov Gallery, Moscow

Alexander Benois. Frontispiece for The Bronze Horseman by Alexander Pushkin (detail). 1905. State Museum of Fine Arts named after A.S. Pushkin, Moscow

Alexander Benois. Oranienbaum (detail). 1901. State Russian Museum, St. Petersburg

In 1902 in the magazine "World of Art"

Mstislav Dobuzhinsky. Petersburg (detail). 1914. State Tretyakov Gallery, Moscow

Mstislav Dobuzhinsky. House in St. Petersburg (detail). 1905. State Tretyakov Gallery, Moscow

Mstislav Dobuzhinsky. Corner of St. Petersburg (detail). 1904. State Tretyakov Gallery, Moscow

Mstislav Dobuzhinsky was a versatile artist - he designed theatrical productions, illustrated books and magazines. But the central place in his work was occupied by the urban landscape, especially the artist liked to depict St. Petersburg - Dobuzhinsky spent his childhood there.

Among his works are "Corner of Petersburg", "Petersburg". Petersburg landscapes can also be seen in the book "Petersburg in 1921", in illustrations for Dostoevsky's White Nights and Dostoevsky's Petersburg by Nikolai Antsiferov. In 1943, Dobuzhinsky created a cycle of imaginary landscapes of besieged Leningrad.

As the art historian Erich Hollerbach wrote: “Unlike Ostroumova-Lebedeva, who captured in her engravings and lithographs mainly the architectural beauty of St. Petersburg, the artist also looked into the lowlands of city life, embraced with his love not only the monumental splendor of St. Petersburg architecture, but also the miserable squalor of the dirty outskirts.” After leaving the country, Dobuzhinsky continued to paint landscapes, but already in Lithuania and the USA.

Anna Ostroumova-Lebedeva. Petersburg, Moika (detail). 1912. Private collection

Anna Ostroumova-Lebedeva. Pavlovsk (detail). 1953. Private collection

Anna Ostroumova-Lebedeva. Petrograd. Red columns (detail). 1922. State Russian Museum, St. Petersburg

One of the main graphic artists and engravers of the first half of the 20th century. On woodcuts - woodcuts, lithographs and watercolors - she depicted mainly views of St. Petersburg. Among her works are illustrations for the books by Vladimir Kurbatov "Petersburg" and Nikolai Antsiferov "The Soul of Petersburg", watercolor "Field of Mars", "Autumn in Petrograd", engravings "Petersburg. Summer garden in winter”, “Petersburg. Rostral columns and stock exchange” and others.

The artist did not leave her native Leningrad even during the blockade: “I often wrote in the bathroom. I'll put a drawing board on the washstand and put an inkpot on it. Ahead on the shelf is a smokehouse. Here, the blows sound more muffled, the whistle of flying shells is not heard so much, it is easier to collect scattered thoughts and direct them along the proper path. The works of this period - "Summer Garden", "Rostral Column" and others - were also published in the form of postcards.

Another master class

By soft materials here we mean pencils 3B and softer, pressed wood charcoal, sanguine, sauce, sepia, chalk, pastel. The softer the material, the more gentle it should be to touch the paper. Failed places at the beginning are best erased with a napkin or nag, then with an eraser. Some of these materials can be used on wet paper: sauce, sanguine, sepia. They can also be rubbed into dust, diluted with water in any proportion and worked with a brush. Examples of specific working methods will be given below.
It is not uncommon for beginners to have an ill-conceived attitude to materials, for example, with limited time on a large sheet, a drawing is done with a hard pencil. In the absence of experience, the work process becomes difficult and the whole result becomes unattainable. Large scale sketches have a positive effect on developing a sense of wholeness, and it is natural to do them with flexible, moving materials like sanguine, charcoal, sepia, etc. Such large sketches are done at arm's length.

Interior drawing.

The image of interiors from nature has its own characteristics. First, the interior includes spatial plans. The draftsman must find such a point that the architecture in the drawing is legible and with the correct proportions of the general and the details. At the same time, for very large spaces, it is necessary to “correct” the apparent perspective in such a way that less distortion occurs. To do this, it is possible "by eye" to build a wide-angle perspective with three or more vanishing points on the horizon, and the verticals are drawn strictly parallel. Chamber interiors are depicted with the usual perspective. The location of the horizon line is very important - at the level of the eyes of a standing person, or sitting. In rare cases, a horizon line is made near the floor, to give the object a special monumentality. Secondly, the interior has various light sources and sometimes several points of light “work”. In any case, you need to follow the aerial perspective, which complements the linear one. The foreground becomes the most contrasting, as it moves away, the light is depicted darker, the shadows lighter, and all other tonal relationships converge. Thirdly, objects in the interior are different in color (from white to black) and texture (wood, marble, metal)
For quick sketches, use the line. But the line, as such, only conditionally defines the boundaries of the object, without giving an idea of ​​its color and textural qualities. Therefore, according to the first linear sketch, you can immediately lay a light tone with blending or suede, having previously tried it on the palette. The possibilities of the line are also limited in the transmission of real volume. We know the brilliant line drawings of interiors by such architects as Voronikhin, Thomas de Thomon, Cameron, Zholtovsky, Noakovsky.
The black and white pattern expresses not only the conditional nature of lighting, but also much more. Before making such a drawing, you need to think about how to use lighting in the interior more effectively, how to most expressively reveal light plans. Whether light passes through windows, or is it diffused light, does light come from chandeliers - in each case, a qualitatively new design solution will be required. For interior drawings, it is good to use tinted paper, with the expectation that in the last stage of work with chalk to make blows at light points.
A brilliant example of black and white drawings of interiors are the drawings of Gonzago, Premazzi and Piranesi.

Landscape drawing with architecture.

In the air, you need to draw in different weather and at different times - then we will see the same architecture in different lighting, and it will be easier to catch the main thing. Here it is also necessary to build an image in perspective, which determines the relationship of spatial plans with the horizon and the vanishing point and the position of all objects in space. First, try to outline the very shape of the buildings, which does not depend on lighting. In the course of the sun, it will change all the time and you need to remember and quickly fix the most advantageous position on the sheet, or from the very beginning you assume diffused lighting from a cloudy sky. Work out, first of all, large plans, subordinate and correlate smaller forms and details to them. It is advisable to draw on different paper sizes so that the architecture is obtained, as it were, on a different scale. It is easier to start with urban landscapes on a non-sunny day, when the lighting is more stable and the light and shade ratios change little. Examples of such works are drawings by M. Vorobyov, F. Alekseev, I. Charlemagne and others.

Drawing architecture in a landscape (from my own experience).


I choose the paper format and immediately sketch the composition on the sheet in sepia (without a pencil): how much land, how much architecture and how much sky. Usually the area of ​​​​the sky on the sheet is larger than the earth (it's bad when it comes out the same). In the first stage, the problems of lighting and tone relations are "keep in mind" - the very form of the earth and architecture is sketched out, through simplified forms without details - a plane, a prism, a cylinder, etc. For clarity of composition, the first sketch should be bright, but "light".
Then the main details are worked out and the overall shape is explained in tone. You can use blending or suede to pick up rubbed sepia and easily, without rubbing into paper, apply in the places necessary for the composition. With diffused lighting, these are, first of all, openings, with sunlight, they are also the general boundaries of their own shadows. The average tone of the earth is usually darker than the average tone of the architecture. Further detailing and elaboration in tone is carried out in accordance with the linear and aerial perspective. At the same time, preferably at one time, the sky is being made: the state of the clouds in perspective and lighting, and the architecture is being completed against the background of the sky. Throughout the work, architecture remains the main element of the composition. It is always desirable in the final stage to make one or two of the lightest places and one or two of the darkest, while enhancing the contrasts in the foreground. Closer to the edges of the sheet, the contrasts are weakened. The entourage (nature, people) in such drawings is medium in tone and more or less conditional, that is, it “plays along” with the architecture. The linear stage and details are done only with a sharply honed sepia stick. For almost all subjects, paper can be taken with a rough texture. Then distant plans are made by blending, and the foreground is made in small, to convey a rough texture (bark of trees, walls made of boulders, earth, etc.). If you take tinted paper - yellowish, grayish, brownish, etc. - then in the last stage several accents are made with chalk or liquid white with a brush. White is used in two ways: either as a highlight or as a light plane. Glare is insignificant in area, but bright in intensity. Light planes are less bright, but larger in area. In both cases, these light spots are different in intensity and one of them becomes the brightest. The overall tone of the sky is usually lighter than everything else.

Landscape drawing with elements of architecture.

You can especially consider landscape drawings, where the architecture in the composition plays only the role of an accent that emphasizes the beauty of the landscape. In such drawings, the scale of the element of architecture and landscape is especially important. Here the task is to show how beautifully architecture fits into nature and at the same time differs from it. The texture of nature is infinitely diverse: the sky, foliage, trees, earth, stones, etc. as opposed to more or less the same texture in architecture. Architectural details play a special role here. Such drawings are made, as a rule, in a deep tone - from white to the darkest, but it is advisable not to reach such a degree of darkness anywhere that the material already stops “working”.

urban landscape

landscape types

Depending on the nature of the landscape motif, one can single out rural, urban (including urban architectural and veduta), and industrial landscapes. A special area is the image of the sea element - the marina.

Rural landscape aka "village"

This direction of the landscape genre has been popular at all times, regardless of fashion. The relationship between nature and the results of the conscious activity of mankind has always been quite complex, even conflicting; in the visual arts, this is especially evident. Landscape sketches with architecture, a fence or a smoking factory chimney do not create a mood of peace: against such a background, all the beauty of nature is lost, gone.

However, there is an environment where human activity and nature are in harmony or, on the contrary, nature plays a dominant role - this is the countryside, where architectural structures, as it were, complement village motifs.

Artists in the rural landscape are attracted by tranquility, a kind of poetry of rural life, harmony with nature. The house by the river, the rocks, the greenery of the meadows, the country road gave impetus to the inspiration of artists of all times and countries.

This type of landscape was the result of several centuries of development in landscape painting. In the 15th century, architectural landscapes became widespread, which depicted views of the city from a bird's eye view. Antiquity and modernity often merged on these interesting canvases, elements of fantasy were present.

A kind of landscape, one of the types of perspective painting, an image of real or imaginary architecture in a natural environment. A large role in the architectural landscape is played by a linear and aerial perspective, linking nature and architecture.

In the architectural landscape, urban perspective views are distinguished, which were called in the 18th century. vedutami (A. Canaletto, B. Bellotto, F. Guardi in Venice), types of estates, park ensembles with buildings, landscapes with ancient or medieval ruins (J. Robert; K. D. Friedrich Abbey in an oak grove, 1809–1810, Berlin, State Museum; S.F. Shchedrin), landscapes with imaginary buildings and ruins (D.B. Piranesi, D. Pannini).

Veduta(it. veduta, lit. - seen) - a landscape that accurately depicts a documented view of the area, city, one of the origins of panorama art. The late Venetian landscape, closely associated with the names of Carpaccio and Bellini, who managed to find a balance between the documentary accuracy of depicting urban reality and its romantic interpretation. The term appeared in the 18th century, when a camera obscura was used to reproduce views. The leading artist working in this genre was A. Canaletto: Piazza San Marco (1727-1728, Washington, National Gallery).

Marina (it. marina, from lat. marinus - sea) - one of the types of landscape, the object of which is the sea.

Marina took shape as an independent genre in Holland at the beginning of the 17th century: J. Porcellis, S. de Vlieger, V. van de Velle, J. Vernet, W. Turner “Funeral at Sea” (1842, London, Tate Gallery), K. Monet "Impression, Sunrise" (1873, Paris, Marmottan Museum), S.F. Shchedrin "Small Harbor in Sorrento" (1826, Moscow, Tretyakov Gallery).

Aivazovsky, like no one else, managed to show a living, light-filled, ever-moving water element. Getting rid of the too sharp contrasts of the classic composition, Aivazovsky eventually achieves genuine pictorial freedom. Bravura - catastrophic "The Ninth Wave" (1850, Russian Museum, St. Petersburg) is one of the most recognizable paintings of this genre.