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Gardens and villas became extremely popular in the 16-18th centuries. Starting out as a meditative retreat built only for the rich, they evolved into a place for power over nature and people. An extensive study was done by The National Gallery of Art through the year 1990. Their exhibit Gardens on Paper 1200-1900 included a catalog of artist rendered gardens through history. Through every garden, there is a design, engraving, or print that was done to explore different themes and purposes. These illustrated gardens and plans were extremely influential to art and design through mediums in painting and print making. In addition, inventions and architecture were constantly changing along with different art styles from artist to era and represented what humans saw of nature. Ultimately, this helped create a deep and everchanging relationship regarding humans and the raw natural world. This paper will demonstrate the evolution of power in relation to gardens over the span of centuries through the use of art and nature while also taking into consideration common associations to gardens through the eras.

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During the renaissance in the 14th and 15th centuries, the popularity of gardens and villas started to rise. The renaissance era thrived off of humanism, or the celebration of what humans can accomplish. This was represented in a cultural hierarchy, “The renaissance universe was hierarchical, with God at the summit, human beings at the center, and nature below, and each part is related to each other,” [1]. Humans and nature directly interacted with concepts of art and nature in contrast to formal and natural art[2]. In accordance to art, the renaissance saw nature as a human need to survive, but more importantly, they began to experiment with the manipulation of nature to further benefit the needs for humans. Which states, “Works of art began to include closely observed and naturalistically rendered images of real gardens. Artists developed a new concern for verisimilitude in depicting [3]the wonderful diversity of nature and human activity in the garden,” 2. Because of this, gardens and villas became more important in renaissance society. Nature and art began to work hand in hand to create the mannerist style. Mannerist style can be explained as geometric and natural looking although these gardens keep a sense of symmetry. This was also known as picturesque, or the idea that nature looked like it evolved out of a painting. Additionally, these styled gardens involved many natural materials. The renaissance also introduces the idea of a third nature. Where, “The expression was used to describe human modification of the natural environment,”[4]

[1] Stephen, Vanessa, and Claudia Lazzaro. “The Italian Renaissance Garden.” Garden History 20, no. 1 (1992): 89. 8.
[2] Lazzaro, Claudia. “The Villa Lante at Bagnaia: An Allegory of Art and Nature.” The Art Bulletin , 2014. 553
[3] Clayton, Virginia Tuttle. “Gardens on Paper.” National Gallery of Art, 1990. 43.
[4] Lazzaro, Claudia. “The Villa Lante at Bagnaia: An Allegory of Art and Nature.” The Art Bulletin , 2014. 9.

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The Fountain of the Oak 16th Century, Giovanni Guerra (Renaissance)

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The Fountain of the Oak 16th Century, Giovanni Guerra (Renaissance)

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A very important architect and artist from this time period was Giovanni Guerra. Giovanni Guerra was an Italian painter that worked primarily in Rome during the year 1562. Giovanni Guerra was also an architect and created several paintings and engravings of nature and man made garden features. One of his many illustrations is The Fountain of the Oak seen in fig 1. This piece was created in pen and brown ink, brush and brown wash, laid over black and red chalk. This quote goes into detail about Giovanni Guerra’s piece, “Giovanni Guerra, who made sketches of many of the fountains and grottoes at Pratolino sometime around 1600. Guerra’s drawing is less realistic but more informative,” [1]. Although Guerra’s illustrations weren’t realistic, he put an extraordinary amount of life, energy, and information in them. This style of art illustrates a more imaginative take on nature although the real site was true to the randomness of nature. Many of these mannerist gardens have a sense of natural motifs and were stylized during this mannerist era [2] . During this time, artists and architects alike had a fascination with artificial and man made grottoes and fountains. Most of these fell into the picturesque era because they used natural materials like minerals, shells, glass and tried to make the grotto as natural as possible. Through this era, nature was celebrated through the celebration of humanism and human accomplishments. In other words, the power of humans to manipulate nature to their advantage.

[1] Steadman, Philip. “The ‘Garden of Marvels’ at Pratolino.” Renaissance Fun, 2021, 284.

[2] Morgan, Luke. “Wölfflin and Landscape History: ‘Painterly,’ ‘Linear’ and the Mannerist Garden.” Architectural Theory Review 24, no. 2 (2020): 128f

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The Tree House, Medici Villa at Pratolino Artist: Stefano Delia Bella, 1652 (Renaissance)

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The Tree House, Medici Villa at Pratolino Artist: Stefano Delia Bella, 1652 (Renaissance)

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Another accomplished renaissance artist is Stefano Delia Bella (Italian, 1610-1664). Stefano Delia Bella was a graphic artist that etched nature all over Italy and France. Stefano Delia Bella did a lot of work for the Medici family. More specifically, he did a collection of six etchings of Rome for Cardinal Ferdinando de' Medici's art collection. The Tree House, Medici Villa at Pratolino seen in fig 2. The text states, “A remarkable tree house that must have been one of the most entertaining features of the garden (cat. 46).101 Here the heavily wooded aspect of the garden is clearly seen, with the abundant, leafy branches of the immense oak tree that accommodates the tree house commanding nearly the entire space of the composition,” [1]. In The Tree House, he fills up the entire composition of the space and. Another piece from Stefano Delia Bella’s collection was The Colossus of Pratolino, relatively completed in the year 1653 seen in fig 3. This etching illustrated Cardinal Ferdinando de' Medici’s garden. Not only did this capture his garden, this etching incorporated motifs of Cardinal Ferdinando de' Medici  through the use of Apollo and the villa with Parnassus[2]. This is important because, “Another aspect of the gardens that was characteristic of Renaissance landscape design was the presentation of a comprehensive iconography program in fountains and statues that attests to the power and magnificence of its owner,”[3]. In other words, nature and natural features were used to celebrate and honor the owner of these grand estates. Ultimately, creating more power and distinguish wealth over the people.

[1] Clayton, Virginia Tuttle. “Gardens on Paper.” National Gallery of Art, 1990. 67.

[2] Clayton, Virginia Tuttle. “Gardens on Paper.” National Gallery of Art, 1990. 66.

[3] Clayton, Virginia Tuttle. “Gardens on Paper.” National Gallery of Art, 1990. 66.

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The Colossus of Pratolino Artist: Stelia Delia Bella, 1653 (Renaissance)

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The Colossus of Pratolino Artist: Stelia Delia Bella, 1653 (Renaissance)

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After the renaissance period, baroque styled gardens started to take over the old mannerist style during the late 16th to 17th century. Baroque style focused on symmetry and order and highly impacted the garden prints that were being developed at this time. The appearance of a three-dimensional plain was also highly introduced during this era. Prints were often bigger and incorporated deeper areas of space and depth. The text states, “Baroque artists employed it seemingly to extend the viewer's visual penetration to infinity, thus submitting great expanses of nature to the vision and mind of man,” [1]. Baroque style expanded the canvas and allowed the viewer to feel like they were in the drawing itself creating a wonderland for the individual to view. Ultimately, this allowed a deeper relationship between human and nature by creating an infinite landscape that helps explore and celebrate everything nature has to offer. Also, during this time, gardens were starting to build political power over the people that furthered the meaning and exploration of the manipulation of nature through wealth and access over these gardens and villas.

[1] Clayton, Virginia Tuttle. “Gardens on Paper.” National Gallery of Art, 1990. 77.

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The garden scene of the Venus vale with water ponds, cascades, and wooden space walls in the Rousham garden Artist: William Kent 18th century (Baroque)

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The garden scene of the Venus vale with water ponds, cascades, and wooden space walls in the Rousham garden Artist: William Kent 18th century (Baroque)

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An artist named Willam Kent, from the years 1685 to 1748, was also highly celebrated during this time period. William Kent illustrated three dimensional picturesque paintings depicting villa life. One of William Kent’s pieces is the Venus vale with water ponds, illustrates cascades and wooden space walls in the Rousham garden also designed by William Kent created in the early 18th century seen in fig 4 [1]. “His garden designs are three-dimensional paintings, theatrical scenes in nature, created with Nature therefore I would call Kent’s gardens the “scene-scape” gardens,” [2]. William Kent celebrates real and raw nature. Through all his works, Willam Kent’s gardens are for contemplation and thinking, for enjoying life and harmony with Nature[3]. These ideals fit in with humanist ideals, while incorporating a more interactive and interactive landscape. In one of his other works, The Moor Park done in the late 18th century seen in fig 5. Shows the increase of big estates as opposed to woodlands. The increase of estates was important because they represented wealth and power over the people. Nature and peace of the landscape now belonged to the rich. The rise of privatized land became a luxury for the wealthy. In other words, “The treasures of ancient and renaissance architecture of Italy inspired the most talented members of the high society to develop their own estates and to create the ideal landscape,”[4]. This was known as the landscape garden movement. Although it seems William Kent is depicting a calm and inviting scene of nature, it represents confiscated common land and the enclosure and privatization of nature.

[1] Szilaggyi, Kinga. “The Evolution of English Picturesque Landscape Garden to Urban Public Park.” Acta Universitatis Sapientiae Agriculture and Environment, 2011. 5.
[2] Szilaggyi, Kinga. “The Evolution of English Picturesque Landscape Garden to Urban Public Park.” Acta Universitatis Sapientiae Agriculture and Environment, 2011. 5.
[3] Szilaggyi, Kinga. “The Evolution of English Picturesque Landscape Garden to Urban Public Park.” Acta Universitatis Sapientiae Agriculture and Environment, 2011. 5.
[4] Szilaggyi, Kinga. “The Evolution of English Picturesque Landscape Garden to Urban Public Park.” Acta Universitatis Sapientiae Agriculture and Environment, 2011. 4.

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The Moor Park Artist: William Kent 18th century (Baroque)

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The Moor Park Artist: William Kent 18th century (Baroque)

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Di Roma nelle Piazze e Luoghi Publici della Città Artist: Giovanni Battista Falda 1691- (Baroque)

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Di Roma nelle Piazze e Luoghi Publici della Città Artist: Giovanni Battista Falda 1691- (Baroque)

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Giovanni Battista Falda was an important artist and architect during this time and was frequently commissioned for his work. Falda was mainly famous for his ability to interchange variety and style. Some of his most famous works are the fountains of Rome and vicinity: Le Fontane di Roma, di Roma nelle Piazze e Luoghi Publici della Città as seen in fig 6 and Le Fontane délie Ville di Frascati in fig 7. The text states, “Although Falda maintained his customary precision in rendering the architectural elements, the technique is somewhat looser and more spirited in describing this country garden set in a heavily wooded hillside…The visitors enjoying the water theater are quickly and spontaneously drawn; the mass of foliage that surrounds the architecture is executed with a pleasing variety of textures and contrast of lights and darks. Falda demonstrates his skill in rendering atmospheric perspective in his very light etching of the background of this scene,” [1]. This quote helps illustrate Falda’s style as vivacious while also considering the mathematical and precise side of architecture. Because of this, Falda gives an extreme sense of life to his drawing and the nature around him especially through the dark and lively contrasted theme of the etching. Through this, Falda also fits into the baroque era by creating a newer and more idealized scene of architecture compared to mannerist and picturesque style art. Falda inevitably reels in his viewers by immersing them into his work through his artistic techniques such as his stylized and idealized view of nature and his gestural drawing skills that give life to the piece.

[1] Clayton, Virginia Tuttle. “Gardens on Paper.” National Gallery of Art, 1990. 78.

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Le Fontane délie Ville di Frascati Artist: Giovanni Battista Falda 1691- (Baroque)

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Le Fontane délie Ville di Frascati Artist: Giovanni Battista Falda 1691- (Baroque)

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After the baroque era came the 18th century. During this era, came a new conceptualization of nature. Nature was now celebrated for its “universal goodness” [1] and was inspiring a new type of imagination to artists. Art during this time period had an extreme sense of graphic power that illustrated gardens and monuments. The French started impacting the garden scene and created a new style of gardens known as the French formal style gardens. French styled gardens were symmetrical and geometric. Gardens were no longer seen as picturesque and instead turned militant and dominating. Here, they added to the gardens in ways to further the social and political meaning. The text states, “In France, the cultural climate was entirely different. Far from imagining themselves at the threshold of an era of prosperity and power comparable to that of ancient Rome,” [2]. Although nature is still celebrated, the meaning behind nature becomes deeper as the manipulation of nature turns into the power over people. Through the grand tour, French artists and architects studied Roman and Italian gardens and villas, specifically, the works of art by Giovanni Battista Piranesi.

[1] Clayton, Virginia Tuttle. “Gardens on Paper.” National Gallery of Art, 1990. 107.

[2] Clayton, Virginia Tuttle. “Gardens on Paper.” National Gallery of Art, 1990. 107

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Plan of Versailles Artist: Andre Le Notre 1746 (18th Century)

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Plan of Versailles Artist: Andre Le Notre 1746 (18th Century)

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Arguably France’s most famous architect and artist during the 18th century was Andre Le Notre. Seen in fig 8, are Andre Le Notre’s garden plans for Versailles done in the year 1774. These plans are very strictly organized and represent a French formal style garden. The Palace of Versailles was the royal residence of King Louis XIV of France and was used for an extensive amount of power. Andre’s plan is very symmetrical and geometrical. Another thing to take into consideration is that the Versailles formal garden is adjacent to the palace of Versailles. This placement of the garden’s relation to the palace was done on purpose to create a “’Green Carpet,’ which is a long strip of lawn that acts as an optical illusion that renders the viewer to believe that the straightaway is never-ending. Louis XIV implemented this "never-ending" straightaway to symbolize his "never-ending" reach and power,” [1]. Andre Le Notre created a motif of power, wealth, and royalty through the use of manipulated nature. The plan of the garden of Versailles also includes bosquets, or a prescribed arrangement of trees [2] that also applies a strict manipulation of nature.

[1] Crew, Julie. “The Gardens of Versailles: Landscaping a Political Facade,” 2016. 20.
[2] Crew, Julie. “The Gardens of Versailles: Landscaping a Political Facade,” 2016. 21.

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Works Cited

Baridon, Michel. “The Scientific Imagination and the Baroque Garden.” Studies in the History of Gardens & Designed Landscapes 18, no. 1 (1998): 5–19. https://doi.org/10.1080/14601176.1998.10435529.

Clayton, Virginia Tuttle. “Gardens on Paper.” National Gallery of Art, 1990.

Crew, Julie. “The Gardens of Versailles: Landscaping a Political Facade,” 2016.

Lazzaro, Claudia. “The Villa Lante at Bagnaia: An Allegory of Art and Nature.” The Art Bulletin , 2014.

Morgan, Luke. “Wölfflin and Landscape History: ‘Painterly,’ ‘Linear’ and the Mannerist Garden.” Architectural Theory Review 24, no. 2 (2020): 127–43. https://doi.org/10.1080/13264826.2020.1785614.

Steadman, Philip. “The ‘Garden of Marvels’ at Pratolino.” Renaissance Fun, 2021, 279–327. https://doi.org/10.2307/j.ctv18msqmt.16.

Stephen, Vanessa, and Claudia Lazzaro. “The Italian Renaissance Garden.” Garden History 20, no. 1 (1992): 89. https://doi.org/10.2307/1586930.

Szilaggyi, Kinga. “The Evolution of English Picturesque Landscape Garden to Urban Public Park.” Acta Universitatis Sapientiae Agriculture and Environment, 2011.