英国的风景画
Landscape painting in England.

英国的教会牧师，为了反对天主教利用画像作为传教的工具，而固执地反对作画，可是英国对十九世纪的艺术，还是有着很大的贡献，就是对现代各画派也略著肤功。其实浪漫主义早在英国流行，因为英国人酷爱自然，影响了作画宗规（这在英国诞生的“浪漫主义”不久就被欧陆的文学家，批评家首先接收去了），他们对于自然特有一种敏感与亲切的鉴赏力，当他们处理风景画的时候又是那么轻松，甚至诙谐地像在装饰，又像在雕刻，画面充满着活泼，有生机，再嵌上适当的人物，故意违犯透视法则以增加趣味，这种新鲜的转变，引起了法兰西画家的注意，他们即刻着手恢复自然的生气，画面的兴趣，这新生，活跃的手法，在十八世纪时代的法国是找不到副本的，就在这偶然的情况下，呱呱堕地了

曹华莱诺斯Johua Reynolds(1723-1792)的肖像画，常常喜欢把模特儿配在风景的前面，那背面的天空，树木，密叶，都和前面的人物一样活泼有生命。詹士堡朗Gainsborough(1727-1788)同样的在他的肖像画背面配上风景，事实上他们都以愉快的乡村风光为主调，虽然英国人一向保守着荷兰画家的方法，这时却由于非常灵活的精巧的原料所取代，不管是否超过单纯的和正直的表现了！

理查威逊Richard Wilson(1713-1782)在英国画史上，也是重要的一员，他在意大利消磨了许多时间，他搜求一种方法使荷兰的现实主义，与意大利的风景画相混合，他的农村风味的构图并不确定，他把握住画家的生活与画面的生动的节奏的不可分离，使作品增加真实感。约翰格兰姆John Crome(1768-1821)也是专心作风景画的一员，他创办绘画学校，采用自己的方法，从保守的习俗解脱出来，他从荷兰的老师那儿得到了不少的心得。在巴黎时画了一帧“意大利人的游散地”，表现出他喜欢大的树木，广阔的天空，带有一种巴比伦画家的气息，虽然他对于自然的爱好是那么强烈，与康斯太保Constables比较起来却显得逊色了！格兰姆的学生约翰司各脱门Johnsell Cotman(1782-1842)的风景画启示出一种自然与画家更密切的关系。他和他的先生一样反对历史性的风景画，不论是寓言的或是神话的，一律不取，他爱用大块的笔触，用深奥的手法强调光彩。堪舆哥罗（Corrot）的画匹敌。因此英国的风景画在国际的地位上，显露出峥嵘的头角了。

In England, church pastors, in opposition to the Catholic use of imagery for missionary purposes, stubbornly opposed painting. However, England still made significant contributions to 19th-century art, exerting some influence on various modern painting styles. Romanticism had already become popular in England due to the English people's love of nature, influencing the rules of painting. This Romanticism, which originated in England, was soon adopted by literary critics and intellectuals on the continent. English artists had a particular sensitivity and affection for nature, which was reflected in their landscape paintings. They handled landscape painting with ease, even humorously, sometimes decorating and sculpting the scenes, imbuing them with liveliness and vitality. This fresh approach caught the attention of French painters, who immediately began to incorporate the vitality and liveliness of nature into their works.

Artists like Joshua Reynolds (1723-1792) and Thomas Gainsborough (1727-1788) often placed their portrait subjects against vibrant landscapes, with the sky, trees, and foliage behind them equally lively and lifelike.

Richard Wilson (1713-1782) was another important figure in English art history, blending Dutch realism with Italian landscape painting during his time in Italy. His compositions exuded a rural flavor and conveyed a sense of rhythm that was inseparable from the painter's life and the vividness of the scene. John Crome (1768-1821) was also dedicated to landscape painting, establishing a painting school and liberating himself from conservative customs. His works often depicted large trees, expansive skies, reminiscent of Babylonian painters. However, compared to Constable, his love of nature seemed less intense. Crome's student, John Sell Cotman (1782-1842), demonstrated a closer relationship between nature and the painter, using broad brushstrokes and emphasizing brilliance with sophisticated techniques, rivaling Corot's paintings. Consequently, English landscape painting gained prominence internationally.