Encountering Landscape

Introduction

My studies in London enabled me to paint the Alps firsthand — a landscape I have long fantasized about as a Malaysian. Working both outdoors and in the studio, I captured these peaks through direct observation, personal photographs, and fresh memories of my encounters with them.

In this section, I state my observations from books and artists who are inspired by their encounters with landscapes.

The Alpine Club and Its Collection

During my research on mountain art in the UK, I discovered the Alpine Club, established in 1857 as the world's first mountaineering organization. I scheduled a visit to the club's archive to examine their collection of mountain artwork and literature about British mountain artists. Their archive houses an impressive collection of mountain-themed paintings, sketches, and photographs by members (Alpine Club, 2024).

My goal was to study how alpine encounters shaped the members' artists' creation, as my own work is heavily influenced by my visit to the alps.

Alpine Club from the outside. Photo taken from google map.

John Ruskin

The Alpine Club features an overwhelming amount of artists, so I focused on those I already knew. Joining the Alpine Club in 1869, Ruskin’s encounter with the alps shaped his artistic pursuits profoundly (Gamble, C., 1998). Similar to Constable (as mentioned in ‘what is sublime?’), Ruskin's motivation to paint nature stemmed from an admiration to their beauty and scientific pursuits (Hewison et al., 2014, p. 42). Ruskin integrates geological knowledge into his work to capture the awe-inspiring essence of landscapes and provide a deeper analysis of nature, moving beyond picturesque quality (Hewison et al., 2014, p. 42).

Ruskin's depiction of Matterhorn. (The Ruskin Collection, 1849)

In his painting, Ruskin intended to study the geological features of mountains, allowing his work to be informative and aesthetic (Hewison et al., 2014, p. 247). He believed that viewing nature is a reminder of the power of the divine (Hewison et al., 2014, p. 28).

With the emergency of photography, Ruskin depicts intricate details and impact of nature through art and writing, aiming to surpass photography’s limitations during the time (Hewison et al., 2014, p. 41) .

By observing mountain formations and geology, he created detailed artworks, illustrating the origination of landscape, how it evolved and will inevitable dissolve (Hewison et al., 2014, p. 23). Ruskin saw the similarity of nature forms and human anatomy, how formations of rocks echoed bodies, thus employing an organic approach to his work by utilizing intertwining curved lines, instead of rigid shapes. This created a harmonious composition which resonates with patterns in nature (Hewison et al., 2014, p. 228).

Ruskin's blend of scientific understanding, artistic talent, and philosophical depth shaped a unique perspective on landscape that remains relevant to our modern understanding and appreciation of nature.

Gabriel Loppé

During my Alpine Club appointment, I discovered Gabriel Loppé's exhibition. As the first French member of the Alpine Club, he was renowned for being one of the first artists to depict what the French call la haute montagne—the high mountains—with a brush in one hand and an ice axe in the other (Mitchell,W., 2000, p. 45).

Loppé's passion in depicting mountains stemmed from a fascination with Alpine landscapes; he described his first experience in the Alps in 1846 as “one of the most vivid impressions of nature", inspiring him to combine his mountaineering passion and artistic talents (Chamonix, 2023) .

To capture lights and atmosphere accurately, Loppé would spend days at high altitude to render these elements. His paintings captured the spontaneity and atmospheric effects, while being geographically accurate. In the 19th century, the alpine tourism was changing, the Alpine Club was recently formed and English tourists were increasingly interested in mountainscapes. As the Mont Blanc was not fully mapped, Loppé’s painting provided valuable information for mountaineers and promoted Chamonix (Chamonix, 2023).

Loppé's work, photo taken while visiting Alpine Club

His paintings are valued for their ability to evoke emotional responses from viewers, emphasizing the power of nature to inspire awe. Art historians have praised Loppé for his technical skill and dedication to realism, noting his influence on subsequent generations of landscape painters (Mitchell,W., 2000, p. 52).

Gabriel Loppé captured the Alps in the 1800s with precise yet artistic paintings that guided climbers and attracted tourists to Chamonix. His work marked the transformation of these mountains from mysterious wilderness to mapped territory, as human attitudes to mountains shifted from intimidated to exploration. These visual records helped establish the foundations of Alpine tourism and mountaineering.

James Hart Dyke

After noticing my interest in Loppé, the alpine club librarian suggested I look into James Hart Dyke, a contemporary British artist. In 2022, Hart Dyke recreated Loppé's route to Mont Blanc and painted plein air, immersing himself in the same environments that inspired Loppé (Mitchell,W., 2013, p. 34). These paintings were exhibited in the Alpine Club.

Looking up to Loppé, Hart Dyke depicts these mountains first hand at high altitudes in extreme temperatures, forcing him to adapt his technique to accommodate these conditions. Hart Dyke’s paintings invite viewers to engage with the impermanent nature of landscapes, prompting reflection on their fragility in the face of environmental change. His work highlights environmental issues by portraying landscapes that are increasingly threatened by climate change (Mitchell,W., 2013, p. 42).

Dyke paintinng on top of mont blanc. Photo taken from the book "James Hart Dyke" by Mitchell (2013)

James Hart Dyke's 2022 recreation of Gabriel Loppé's Mont Blanc journey bridges two eras, revealing dramatic changes in the Alpine landscape over 150 years. By painting en plein air in the same locations, Hart Dyke documents how climate change has transformed the mountains since Loppé's time during the Industrial Revolution. His work, created in extreme conditions, highlights the vulnerability of these once-eternal landscapes and serves as a compelling call for environmental protection.

Books on Encountering Landscape

"The Living Mountain" by Nan Shepherd

Nan Shepherd's "The Living Mountain" masterfully articulates the profound connection between humans and mountains, expressing the magnetic pull that draws people back to mountain peaks. Her words resonate deeply with my own experiences, and I strive to capture that same essence in my work.

She viewed her encounter with the Scottish mountains as a multisensory experience that reveals new perspectives continuously (Shepherd,N., 1977, p. 152) . By deeply knowing the same place over time, one embraces uncertainty and understands that knowing everything is impossible (Shepherd,N., 1977, p. 28). To Shepherd, landscape encounters was a means to explore both the physical and internal world.

The encounters with landscape could transform the ordinary world to a magical one, with each mountain’s rendezvous adds to one’s understanding, as "the eye sees what it didn't see before, or sees in a new way what it had already seen" (Shepherd,N., 1977, p. 152). By viewing landscape through Shepherd’s lens, we appreciate it deeper, we are able to see the subtle changes as it is constantly evolving.

"The Living Mountain" by Nan Shepherd

Her encounters with mountains are intertwined with her discoveries of the internal world, as her understanding of mountains grew alongside her self-exploration (Shepherd,N., 1977, p. 154). She shifted her approach to mountain from a conquering mindset to an appreciation to the landscape, ‘as one visits a friend’ (Shepherd,N., 1977, p. 18). This evolution allowed Shepherd to browse the mountain aimlessly, looking in all directions and inwards, as she embraces uncertainty and continues to discover new perspectives on the mountain and herself.

Nan Shepherd redefined mountain exploration by emphasizing deep engagement over conquest. She advocated experiencing mountains with all senses, embracing their mysteries. Her approach reveals mountains as gateways to both environmental awareness and self-discovery, turning each encounter into a meaningful dialogue with nature.

History of Mountains and Encountering Landscapes: Insights from Macfarlane and Solnit

Macfarlane and Solnit explore our deep connection to landscapes and movement through them.

Macfarlane mentioned how mountains transformed from fearsome entities into venues for adventure and self-discovery, reflecting humanity's quest for exploration and meaning (Macfarlane, R., 2008, p.90). Mountains profoundly influence artists who portray nature by sharpening their observational skills (Macfarlane, R., 2008, p.69). Encountering landscapes sharpen an artist's eye for nature by revealing both intricate geological details and broad scale. This dual exposure to intricate textures and vastness heightens awareness of perspective while cultivating sensitivity to subtle environmental elements like light, clouds and atmosphere (Macfarlane, R., 2008, p.289).

Meanwhile, Solnit explores walking as a means of connecting with landscapes and ourselves (Solnit, R., 2000, p.21). She traces walking's evolution from necessity to pleasure, highlighting its peak in the late 18th century as a contemplative activity (Solnit, R., 2000, p.260). To walk is to introspect, to engage with the world we live in and to understand our surroundings (Solnit, R., 2000, p.82).

Solnit highlights the importance of encountering landscape to enhance our wellbeing by providing stimulation mentally and relieving our stress. The rhythmic act of walking can help us achieve emotional balance by aligning the body, mind, and the world (Solnit, R., 2000, p.26, 18).

These Artists and writers have demonstrated how engaging with mountains can be transformative beyond artistic purposes. Their approach to mountains as spaces to learn reveals the profound impact of natural environments on personal growth.

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Reference

Alpine Club (n.d.). About Us. Available at http://www.alpine-club.org.uk/. (Accessed 24 Oct 2024).

Chamonix. (2023) Gabriel Loppé (1825-1913), Artist, Alpinist, Photographer and Voyager. Available at: https://en.chamonix.com/infos-et-services/espace-presse/gabriel-loppe-1825-1913-artiste-alpiniste-photographe-et-voyageur (Accessed 26 Oct 2024)

Gamble, C. (1998). John Ruskin, Engène Viollet-le-Duc and the Alps. Alpine Journal. Available at: https://www.alpinejournal.org.uk/Contents/Contents_1999_files/AJ%201999%20185-196%20Gamble%20Ruskin.pdf (Accessed 24 Oct 2024).

Hewison R., Wildman S., & Ormond R., (2014). John Ruskin: Artist and Observer. Paul Holberton Publishing.

Macfarlane R. (2008). Mountains of the Mind: A History of Fascination. Granta Publications.

Mitchell W.J., (2013). James Hart Dyke. John Mitchell Fine Paintings.

Mitchell W.J., (2000). Loppé. John Mitchell Fine Paintings.

Shepherd N., (1977). The Living Mountain. Edinburgh: Canongate Books.

Solnit R., (2000). Wanderlust: A History of Walking. Penguin Books Ltd.

The Ruskin Collection. (1849) The Matterhorn from the Moat of the Riffelhorn. Available at: https://www.guildofstgeorge.org.uk/ruskin-collection/a-monthly-treasury-of-works-from-the-ruskin-collection (Accessed 24 Oct 2024).