Spatial Perspective in Mountains

A look at the representation of mountains and their scale in artistic works.

White Mountains shows us a more natural take on the feature, accentuating the mountains with their use of space and earthen colors.
Friedrich's painting allows us to see trees in comparison to the mountains in the background. The perspective of this painting gives us the chance to somewhat witness the scale of the mountains in the distance.
Mountains in Asturias bears an incredible composition, from left to right descending obliquely mountains, a tree, then two people. As the viewer, we see three subjects beautifully contrasted.
Nissky's painting puts a couple of bush pilots and their planes at the base of some mountains. We see an additional individual in the distance, much smaller in proportion to the others, which really grounds the depth of the piece.
Italian Landscape accomplishes something different from the others in this collection, as it breaks nature to contrast civilization and the land's natural form. The artist commands the open spaces with this sweeping visage.
Hudson Valley allows the viewership to view a sunset in the background of an individual looking out off of a cliff. Unlike the prior in the collection, this space is untouched by man; all except the human subject.
Again, like earlier, we have a more natural take on the mountain portraiture. A fallen tree, rock formations, and trees growing in strange places all grace this painting, giving it visual variance. The tones are consistently earthy and contribute to a gritty, realistic picture.
The clouds in Mountain Peak serve to create an almost photorealistic composition casting the foreground of the forestry against the background of the peak and clouds. The scope is put on exposition, and that can be mostly attributed to the unity of the piece. The elements all work together to achieve an overall feel.
A more plain, in terms of technique, but equally as impressive painting, called The Mountain, uses a simpler style to convey perspective. We sit on a bank, with two bends and forest in the foreground. In the background, ensconced in mist, is a large mountain, towering over a river valley.
Similar to the prior painting, this one is eloquent, while using more plain imagery. The shapes are broader and less defined, encouraging the viewer to fill out the details themselves. The use of colors here makes the piece look as if we're viewing a visage from the perspective of someone with poor eyesight.
Credits: All media
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