Wpływ malarstwa XVIII i XIX w. na styl ogrodów krajobrazowych i ich współczesne odniesienia

The European theory of art in the 18th century was inspired by the Far Eastern art, ancient Arcadian topos and archeological and sightseeing travels. English theoreticians, like Hume, Denis, Walpole, Addison, Pope, Price, Gilpin, influenced by Neo-Platonism, regarded Nature as the source of the absolute perfection and beauty. They formulated two key categories for the new aesthetics: sublimity and picturesqueness. The inspirations drawn from the Chinese art caused changes in the structure of gardens. In England it was visible in the rejection of leading the viewer's eye through paths and compositional lines in favour of the system of observation points and views. The natural landscape again began to be imitated. Garden designers were particularly inspired by the Italian landscapes (observed during the Grand Tour) and the paintings of Salvatore Rosa, Nicolas Poussin and Claude Lorrain. Inspiration came also from landscape paintings of such artists as Constable, Turner and Crome with his "school of Norwich", created according to the new aesthetic conception. New rules in the garden design were firstly put into practice by William Kent. His apprentice, Lancelot Brown, designed rural parks, that were meant to imperceptibly merge with the landscape. The critics of Brown, influenced by the new aesthetic conceptions, wanted gardens to be picturesque and wild, diversified by the ruins of castles or abbeys. The new style called Romanticism spread over the Europe in the 19th century, as a reaction against the industrial revolution. For the sake of growing urban population numerous public gardens and promenades were founded with their individual formal features. Under the influence of H. Repton and J. Thouin the English-Chinese gardens evolved into typical landscape parks. After 1850 garden designers made an attempt to connect landscape and geometric systems with the eclectic features. The availability of the new exotic plants stimulated deliberations on the problem of colour in the garden which simultaneously appeared in painting. Such tendencies at the end of the century gave birth to the Impressionism, which was the ultimate breaking with the academic tradition. Meanwhile, the art of garden design since the turn of the 19th and 20th centuries has been inspired mainly by the achievements of the contemporary science, and lost its ability to inspire new artistic trends. To revive it is a great challenge to the contemporary garden designers.