Landscape Painting Course

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Landscape Painting Course

Landscape Painting Course

Landscape Painting Course

Learn to paint to capture sweeping panoramas and stunning landscapes in breath-taking detail with the Landscape Painting course at Konsult. You will learn how to bring depth, colour and character to your work and discover the nature around you. With practical oriented class on framing and composing your paintings, you can develop a depth to your landscapes that will captivate your audience.

Landscape Painting Course (Oil Painting)

  • Movement of Pencil / Freehand
    Drawing Techniques 
  • Shading Technique /
  • Color Theory 
    Basic Landscape Drawings
  • Oil Painting – Seascapes
  • Oil Painting – Landscapes 
  • Oil Painting – Nature
  • Oil Painting – Landscapes (Advanced)
  • Grand Master’s Landscapes
  • Artwork in Acrylic – Creative Works – Self (Assignments)
  • Assignments to be submitted as part of  completion of the course.

Landscape Painting Course

It is flexible program. You can start the course anytime. Classes are held from Mon to Sat. You can choose the days (subject to availability)

Kindly check with Mr. Dass, Manager – Programmes on +91 9902739994 for the schedule.

Once the schedule is fixed, changes cannot be made unless approved by the management.

Landscape Painting Course

The students will be awarded a “Certificate of Completion” on completion of all the sessions and submission of assignments & evaluation by the faculty. 

Th certificate issued under the brand name “Konsult Art and Design Academy’ , a brand of M/s Konsult Global Education, Bangalore.

Please read https://konsultart.com/wpautoterms/certification/

PAYMENT PLANS

PAY IN INSTALMENTS OR FULL

PAYMENT METHODS

STUDENTS FROM INDIA PAY HERE

Payment thru secured Razorpay payment gateway. 

The currency is in INR.

Visa / Mastercard / Rupay / Other Cards / UPI / Wallet / Netbanking / EMI / Pay later.

Add Rs. 500/- towards Registration (On Admission) for new admissions.

Indian Students - Pay the fees here

INTERNATIONAL STUDENTS PAY HERE

Payment thru secured Razorpay / PayPal payment gateway. 

The currency is in USD.

Visa / Mastercard / Paypal.

$7 towards Registration (On Admission) for new admissions.

International Students - Pay the fees here

International fees in US Dollars. Registration (New Admission): Rs.500 for Indian Students) / $7 for International Students will be added On Admission | Secured Razorpay Payment Gateway | PayPal Option for International Payments | EMI Option thru Razorpay available for Indian Students only upto 24 months..

CALL / WHATSAPP +91 9902739994 / 9901444777 FOR PROGRAMME DETAILS AND PAYMENT OPTIONS IN YOUR CURRENCY / LINKS

E Book cost Rs.195 (India) / $3 (International)  | Hard copy books or Certificate cost – Kindly check with the Program Office on Admission

LANDSCAPE PAINTING COURSE

“If you hear a voice within you say you cannot paint, then by all means paint and that voice will be silenced.”
― Vincent Willem van Gogh

LANDSCAPE PAINTING COURSE

LANDSCAPE PAINTING - Wikipedia

Landscape painting, also known as landscape art, is the depiction of natural scenery such as mountainsvalleystreesrivers, and forests, especially where the main subject is a wide view—with its elements arranged into a coherent composition. In other works, landscape backgrounds for figures can still form an important part of the work. Sky is almost always included in the view, and weather is often an element of the composition. Detailed landscapes as a distinct subject are not found in all artistic traditions, and develop when there is already a sophisticated tradition of representing other subjects.

Two main traditions spring from Western painting and Chinese art, going back well over a thousand years in both cases. The recognition of a spiritual element in landscape art is present from its beginnings in East Asian art, drawing on Daoism and other philosophical traditions, but in the West only becomes explicit with Romanticism.

Landscape views in art may be entirely imaginary, or copied from reality with varying degrees of accuracy. If the primary purpose of a picture is to depict an actual, specific place, especially including buildings prominently, it is called a topographical view.[1] Such views, extremely common as prints in the West, are often seen as inferior to fine art landscapes, although the distinction is not always meaningful; similar prejudices existed in Chinese art, where literati painting usually depicted imaginary views, while professional artists painted real views.[2]

The word “landscape” entered the modern English language as landskip (variously spelt), an anglicization of the Dutch landschap, around the start of the 17th century, purely as a term for works of art, with its first use as a word for a painting in 1598.[3] Within a few decades it was used to describe vistas in poetry,[4] and eventually as a term for real views. However the cognate term landscaef or landskipe for a cleared patch of land had existed in Old English, though it is not recorded from Middle English.

History

The earliest forms of art around the world depict little that could really be called landscape, although ground-lines and sometimes indications of mountains, trees or other natural features are included. The earliest “pure landscapes” with no human figures are frescos from Minoan Greece of around 1500 BCE.[6]

Hunting scenes, especially those set in the enclosed vista of the reed beds of the Nile Delta from Ancient Egypt, can give a strong sense of place, but the emphasis is on individual plant forms and human and animal figures rather than the overall landscape setting. The frescos from the Tomb of Nebamun, now in the British Museum (c. 1350 BC), are a famous example.

For a coherent depiction of a whole landscape, some rough system of perspective, or scaling for distance, is needed, and this seems from literary evidence to have first been developed in Ancient Greece in the Hellenistic period, although no large-scale examples survive. More ancient Roman landscapes survive, from the 1st century BCE onwards, especially frescos of landscapes decorating rooms that have been preserved at archaeological sites of PompeiiHerculaneum and elsewhere, and mosaics.[7]

The Chinese ink painting tradition of shan shui (“mountain-water”), or “pure” landscape, in which the only sign of human life is usually a sage, or a glimpse of his hut, uses sophisticated landscape backgrounds to figure subjects, and landscape art of this period retains a classic and much-imitated status within the Chinese tradition.

Both the Roman and Chinese traditions typically show grand panoramas of imaginary landscapes, generally backed with a range of spectacular mountains – in China often with waterfalls and in Rome often including sea, lakes or rivers. These were frequently used, as in the example illustrated, to bridge the gap between a foreground scene with figures and a distant panoramic vista, a persistent problem for landscape artists. The Chinese style generally showed only a distant view, or used dead ground or mist to avoid that difficulty.

A major contrast between landscape painting in the West and East Asia has been that while in the West until the 19th century it occupied a low position in the accepted hierarchy of genres, in East Asia the classic Chinese mountain-water ink painting was traditionally the most prestigious form of visual art. Aesthetic theories in both regions gave the highest status to the works seen to require the most imagination from the artist. In the West this was history painting, but in East Asia it was the imaginary landscape, where famous practitioners were, at least in theory, amateur literati, including several Emperors of both China and Japan. They were often also poets whose lines and images illustrated each other.[8]

However, in the West, history painting came to require an extensive landscape background where appropriate, so the theory did not entirely work against the development of landscape painting – for several centuries landscapes were regularly promoted to the status of history painting by the addition of small figures to make a narrative scene, typically religious or mythological.

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