From classical landscape to modernity · Water in motion

From Murillo to Hokusai, from Ruisdael to Dahl, the waterfall transforms the landscape into an event. Fall, foam, rock and mist show the strength of the water as much as the diversity of artistic traditions.

The waterfall occupies a unique place in the history of the landscape: it is at the same time a natural motif, a tool of composition and an image of time. In the 17th century, Nordic landscapers like Jacob van Ruisdael used the torrent to lead the gaze from the deep forest to the foreground. Massive trees and rocks often reduce human figures to a tiny scale. In the classical Italian and French landscape, Tivoli became a privileged laboratory. In the classical Italian and French landscape, Tivoli became a privileged laboratory. Watteau, Hubert Robert, Granet, Michallon, Corot and many travelers associate its falls with bridges, temples, ruins and paths. In the classical Italian and French landscape, Tivoli became a privileged laboratory. In the classical Italian and French landscape, Tivoli became a privileged laboratory. In the classical Italian and French landscape, Tivoli often reduced human figures to a tiny scale. In the classical Italian and French landscape, Tivoli often reduced human figures to a tiny scale. In the classical Italian and French landscape, Tivoli became a privileged laboratory. Watteau, Hubert Robert, Granet, Michallon, Corot and many travelers associate its falls with bridges, romanticism intensifies the experience: at Johan Christian Dahl, the sunset and the presence of two travelers transform the waterfall into a sublime spectacle. Other traditions completely renew the look. Maruyama Okyo and Hokusai organize the fall through the rhythm of the line, the void and verticality; Zhao Zuo inscribes the rapids in the Chinese mountainous immensity. In Brazil, Benedito Calixto observes the Rio Sorocaba as a specific territory. In Brazil, Benedito Calixto observes the Rio Sorocaba as a specific territory. In Brazil, Benedito Calixto observes the Rio Sorocaba as a specific territory. Ensor's modern works still move color and material. This collection therefore compares several functions of water: vertical axis, rapid diagonal, luminous veil, fog, obstacle or passage. She invites choosing not only a site, but also a feeling - calm, cool, dizzy, growl or contemplation. The "Landscapes with waterfalls and torrents" selection notably compares Landscape with waterfall and Landscape with waterfall. His reading favors composition.

The waterfall makes the landscape visible over time: the water falls, the foam disperses and the rock appears still only in contrast.