'Landscape' is a Dutch invention that was
developed by artists who were part of the prosperous commercial
culture of the Netherlands in the early 17th century. The
patrons of art were plebeian (in the sense of 'not noble'),
down-to-earth people. They could tell one grade of cloth from
another. They were flower-fanciers attentive to the curl of a
petal, artisans and craftsmen who were similarly conscious of the
values of precision. In this sense the art of the Dutch
republic was bound to reflect what is common to all such cultural
dispositions—the various embodiments of 'realism' in the
home, town and countryside environments.
There is also the fact that Holland was a small
country; little in it was unknown or mysterious; there was no call
to introduce transcendental qualities into scenes familiar to
everyone. On the same line of argument, Italianate architectural
fantasies made up of buildings known to everyone but assembled in a
grouping which could never actually occur, had little market.
It is probable that the painter guilds and the
numerous individual painters were an important motor in developing
a market where some citizens buy literally dozens of landscapes
just as others buy hundreds of plants or bulbs or shrubs for their
newly laid-out gardens? Art came to carry a less heroic
message as it expanded into new subject matter. Things
become interesting, especially landscape; also the still life, the
composition put together from homely objects, or prized objects, or
from flowers (echoing the intensive and specialized horticulture of
the land). Painters became free to turn their eye to observe
Holland's more prosaic achievements and specialize in one or other
branch to celebrate them. A church is now a municipal monument, not
a shrine, which is partly why it begins to be painted in a new and
meticulously factual way. The observed realities which the painter
shares with his fellow citizens (his market)—the artefacts
such as ships and windmills or the elements about him, waves, wind,
cloud, and storm—these are free to carry a weight of
attention and a weight of meaning without precedent in artistic
tradition.
These two things taken together, the weight of
attention and the weight of meaning, are what we understand by the
realism of the Dutch school. It is a product both of earlier
achievement and of a present configuration of values concentrated
in the culture of the republic and its tight bonds with its
dangerous watery ecosystem. This regional environmental perspective
heightened esteem for artefacts and natural objects 'as they
actually are', whether at the waterfront or indoors or on the
table, whether the alignment of houses on a well-known skyline, or
a windmill standing on an inlet of water or a familiar vista of
lonely dunes under a huge sky or a quality of cloud and atmosphere
and light . . . These things, no longer crowded to the side, are
reconciled in the painter's compositional discoveries for their own
sake.
There is a link with the beginnings of science, a
movement that produced botanic gardens and the invention of the
microscope. The depiction of even a flower implies awareness of all
sorts of assumptions to do with botany (the botany of the
seventeenth century) and how things grow. The nature of things is
all open to rational appreciation: scholarly humanists pursue
science in the university of Leyden's Hortus academicus
(botanic garden). Indeed there is in the seventeenth century no
other way of imagining reality. Triangles, tulips, laws, or ships
all exhibit their mechanistic nature.
The painter and the scientist are not looking at
two different realities, one concrete and the other
abstract, or even at two different aspects of a reality, one
visual and the other rational. They are looking at exactly the same
object, except that the painter will record its surface rather than
its dissected innards, while the scholar may sometimes wish to
explore the latter. Even then, the appearance of an object to the
painter, under determinate conditions, is still a part of its
nature—a point taken for granted by any naturalist. There is
thus no need for a special artistic philosophy to justify
realism.
The early North American conservation movement
actually outdid the Dutch in their criteria for what makes a good
landscape worthy of protection. In his epochal study,
National Parks: The American Experience,
Alfred
Runte discusses the arguments crafted to support
establishment of the early National Parks. Foremost was what Runte
terms monumentalism— the preservation of inspirational
scenic grandeur like the Grand Canyon or Yosemite Valley and the
protection of the curiosities of nature like Yellowstone's hot pots
and geysers. Later proposals for National Parks had to measure up
to the scenic quality of Mt. Rainier or Crater Lake. Even the
heavily glaciated Olympic Mountains were denied National Park
designation for many years because they weren't deemed to have the
required degree of scenic grandeur. Paintings by North
American artists produced idealised pictographs the idealized
landscape of the geological wonders of the west. These
pictures focus in detail the supremacy of the wilderness
landscape devoid of any sign of human civilization. .
With its roots firmly in the cultural ecology of
the Netherlands, landscape conservation today has pictorial
objectives. Today, landscape conservation plans are being promoted
in England for low altitude farmlands and coastlands, where the
essence is to create a pleasing balance between the different
component ecosystems. The objectives are to preserve
unprofitable agricultural systems characteristic of the Georgian
era.
The educational power of landscape to influence
what should be valued and conserved did not take long to
arrive. It arguably took Wordsworth to the English Lake
District, where the most powerful poetic images of nature were
produced. It is significant that The Lake District comes as
near as can be to the Rocky Mountains. Here, searching for a fresh
source of feelings for the environment, Wordsworth rejected the
Neoclassic idea of the appropriate subject for serious verse and
turned to the simplicities of rustic life "because in that
condition the passions of men are incorporated with the beautiful
and permanent forms of nature."
That interaction with nature has for many of the
Romantic poets mystical overtones. Nature is apprehended by them
not only as an exemplar and source of vivid physical beauty, but as
a manifestation of spirit in the universe as well. In
Tintern
Abbey
Wordsworth suggests that nature has
gratified his physical being, excited his emotions, and ultimately
allowed him "a sense sublime. Of something far more deeply
interfused," of a spiritual force immanent not only in the forms of
nature but "in the mind of man." Though not necessarily in the same
terms, a similar connection between the world of nature and the
world of the spirit is also made by Blake, Coleridge, Byron and
Shelley.
The landscape of the lakes made Wordsworth one of
the first environmentalist .
Bill
Marsden has encapsulated this in relation to the
central role played by the educational concept of 'the book of
nature, enshrining moral and spiritual purposes.
Jonathan Bate describes the
poet as founder of "a language that is for ever green." He
agitated, for example, against the proposal for an extension of the
Kendal- Windermere railway from Bowness to Ambleside and Grasmere:
"Is then no nook of English ground secure from rash assault?. . .
" It has been asserted that Wordsworth’s was a vested
interest, and that his real objection was associated with a
distaste for "town travellers" who "did not know how to read or
interpret the landscape." His motives were no doubt mixed,
but the passion of his engagement is evident in his famous Guide
to the Lake District in which he wrote of disfigurement of the
countryside by the bad taste of the lavish Lakeland homes of
nouveau riche incomers. The ideal home should be incorporated into
the scenery, and the scenery would dictate its colour. "I have seen
a single white house materially impair the majesty of a mountain. .
. "
Wordsworth also wrote with some asperity about
the probing of Lakeland by visiting scientists, as in his ironic
strictures about the "wandering herbalist", or his fellow
traveller, the geologist:
. . .
you may trace him oft
By the scars which his activity has left
Beside our roads and pathways. . .
. . . detaching by the stroke
A chip or splinter -- to resolve his doubts;
And, with that ready answer satisfied,
The substance classes by some barbarous name,
And hurries on. . .
Then there was the "geographic labourer", who on
a Lakeland peak "pitched his tent, With books supplied and
instruments of art, To measure height and distance". The
experience culminates in sudden darkness as the mist comes down,
reminding both poet and geographer that "nature cannot always be
seen, controlled and mapped -- it must be respected".
Wordsworth’s concern for nature’s
creatures was also to be found in his poetry, exemplified in the
actions of a wild, innocent and caring Westmorland girl, watchful
for the interests of her region’s natural life:
Anglers, bent on reckless pastime
Learn how she can feel alike
Both for tiny harmless minnow
And the fierce sharp-toothed pike.
Merciful protectress, kindling
Into anger or disdain
Many a captive hath she rescued
Others saved from lingering pain.