{"id":45637,"date":"2017-07-12T14:50:35","date_gmt":"2017-07-12T13:50:35","guid":{"rendered":"http:\/\/centmagazine.co.uk\/?p=45637"},"modified":"2017-07-12T15:33:08","modified_gmt":"2017-07-12T14:33:08","slug":"lush-unnatural-nature-unusual-depictions-of-vegetations-and-landscapes","status":"publish","type":"post","link":"https:\/\/staging.centmagazine.co.uk\/?p=45637","title":{"rendered":"Lush; Unnatural Nature: Unusual Depictions of Vegetations and Landscapes."},"content":{"rendered":"<p>We have always been used to watching nice paintings, nice depictions showing a vase with flowers, a landscape or a view. But maybe we have also noticed that they were, at the end of the day, very simple and banal, merely faithful representations. What about absurdity? What about strangeness?<\/p>\n<p>This article is going to show unusual and particular depictions of nature, compositions that goes beyond conformity and that will make you travel through nonconformist types of nature<\/p>\n<p><strong>Voynich Manuscript<\/strong><\/p>\n<p><a href=\"https:\/\/i0.wp.com\/centmagazine.co.uk\/wp-content\/uploads\/2017\/07\/16092189694_2ec9387d25_b_opt.jpg\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-45681\" src=\"https:\/\/i0.wp.com\/centmagazine.co.uk\/wp-content\/uploads\/2017\/07\/16527090820_ff104885c3_b_opt.jpg?resize=580%2C289\" alt=\"16527090820_ff104885c3_b_opt\" width=\"580\" height=\"289\" srcset=\"https:\/\/i0.wp.com\/staging.centmagazine.co.uk\/wp-content\/uploads\/2017\/07\/16527090820_ff104885c3_b_opt.jpg?w=700&amp;ssl=1 700w, https:\/\/i0.wp.com\/staging.centmagazine.co.uk\/wp-content\/uploads\/2017\/07\/16527090820_ff104885c3_b_opt.jpg?resize=300%2C149&amp;ssl=1 300w, https:\/\/i0.wp.com\/staging.centmagazine.co.uk\/wp-content\/uploads\/2017\/07\/16527090820_ff104885c3_b_opt.jpg?resize=600%2C299&amp;ssl=1 600w, https:\/\/i0.wp.com\/staging.centmagazine.co.uk\/wp-content\/uploads\/2017\/07\/16527090820_ff104885c3_b_opt.jpg?resize=680%2C339&amp;ssl=1 680w\" sizes=\"auto, (max-width: 580px) 100vw, 580px\" \/><\/a><\/p>\n<p>&nbsp;<\/p>\n<p><a href=\"https:\/\/i0.wp.com\/centmagazine.co.uk\/wp-content\/uploads\/2017\/07\/16092189694_2ec9387d25_b_opt.jpg\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-45680\" src=\"https:\/\/i0.wp.com\/centmagazine.co.uk\/wp-content\/uploads\/2017\/07\/16092189694_2ec9387d25_b_opt.jpg?resize=580%2C779\" alt=\"16092189694_2ec9387d25_b_opt\" width=\"580\" height=\"779\" srcset=\"https:\/\/i0.wp.com\/staging.centmagazine.co.uk\/wp-content\/uploads\/2017\/07\/16092189694_2ec9387d25_b_opt.jpg?w=700&amp;ssl=1 700w, https:\/\/i0.wp.com\/staging.centmagazine.co.uk\/wp-content\/uploads\/2017\/07\/16092189694_2ec9387d25_b_opt.jpg?resize=223%2C300&amp;ssl=1 223w, https:\/\/i0.wp.com\/staging.centmagazine.co.uk\/wp-content\/uploads\/2017\/07\/16092189694_2ec9387d25_b_opt.jpg?resize=600%2C805&amp;ssl=1 600w, https:\/\/i0.wp.com\/staging.centmagazine.co.uk\/wp-content\/uploads\/2017\/07\/16092189694_2ec9387d25_b_opt.jpg?resize=680%2C913&amp;ssl=1 680w, https:\/\/i0.wp.com\/staging.centmagazine.co.uk\/wp-content\/uploads\/2017\/07\/16092189694_2ec9387d25_b_opt.jpg?resize=300%2C402&amp;ssl=1 300w\" sizes=\"auto, (max-width: 580px) 100vw, 580px\" \/><\/a><\/p>\n<p>&nbsp;<\/p>\n<p>Awkward plants, mysterious botanic, a vegetation never seen. For who loves mystery this is the right piece to see. The Voynich Manuscript is the most mysterious manuscript in the world. It is written in an unknown\u00a0writing system, it has been\u00a0carbon-dated\u00a0to the early 15th century (1404\u20131438), maybe composed in\u00a0Northern Italy during the Italian Renaissance. The manuscript is named after\u00a0Wilfrid Voynich, a Polish book dealer who purchased it in 1912. There are six different illustration themes: Herbal, Astronomical, Biological, Cosmological, Pharmaceutical and Recipes. All the depictions are very unusual. The herbal part, in particular, reminds the common European herbals of the time, with one or two plants and text paragraphs in the same page. The intriguing fact? None of the plants depicted have been identified.<\/p>\n<p>&nbsp;<\/p>\n<p><a href=\"https:\/\/i0.wp.com\/centmagazine.co.uk\/wp-content\/uploads\/2017\/07\/16714502235_99082a0c0c_c_opt.jpg\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-45682\" src=\"https:\/\/i0.wp.com\/centmagazine.co.uk\/wp-content\/uploads\/2017\/07\/16714502235_99082a0c0c_c_opt.jpg?resize=580%2C803\" alt=\"16714502235_99082a0c0c_c_opt\" width=\"580\" height=\"803\" srcset=\"https:\/\/i0.wp.com\/staging.centmagazine.co.uk\/wp-content\/uploads\/2017\/07\/16714502235_99082a0c0c_c_opt.jpg?w=700&amp;ssl=1 700w, https:\/\/i0.wp.com\/staging.centmagazine.co.uk\/wp-content\/uploads\/2017\/07\/16714502235_99082a0c0c_c_opt.jpg?resize=216%2C300&amp;ssl=1 216w, https:\/\/i0.wp.com\/staging.centmagazine.co.uk\/wp-content\/uploads\/2017\/07\/16714502235_99082a0c0c_c_opt.jpg?resize=600%2C830&amp;ssl=1 600w, https:\/\/i0.wp.com\/staging.centmagazine.co.uk\/wp-content\/uploads\/2017\/07\/16714502235_99082a0c0c_c_opt.jpg?resize=680%2C941&amp;ssl=1 680w, https:\/\/i0.wp.com\/staging.centmagazine.co.uk\/wp-content\/uploads\/2017\/07\/16714502235_99082a0c0c_c_opt.jpg?resize=300%2C415&amp;ssl=1 300w\" sizes=\"auto, (max-width: 580px) 100vw, 580px\" \/><\/a><\/p>\n<p>&nbsp;<\/p>\n<p><strong>Ernst Ludwig Kirchner<\/strong><\/p>\n<p><a href=\"https:\/\/i0.wp.com\/centmagazine.co.uk\/wp-content\/uploads\/2017\/07\/display_image-6_opt.jpg\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-45690\" src=\"https:\/\/i0.wp.com\/centmagazine.co.uk\/wp-content\/uploads\/2017\/07\/display_image-7_opt.jpg?resize=580%2C585\" alt=\"display_image (7)_opt\" width=\"580\" height=\"585\" srcset=\"https:\/\/i0.wp.com\/staging.centmagazine.co.uk\/wp-content\/uploads\/2017\/07\/display_image-7_opt.jpg?w=700&amp;ssl=1 700w, https:\/\/i0.wp.com\/staging.centmagazine.co.uk\/wp-content\/uploads\/2017\/07\/display_image-7_opt.jpg?resize=150%2C150&amp;ssl=1 150w, https:\/\/i0.wp.com\/staging.centmagazine.co.uk\/wp-content\/uploads\/2017\/07\/display_image-7_opt.jpg?resize=297%2C300&amp;ssl=1 297w, https:\/\/i0.wp.com\/staging.centmagazine.co.uk\/wp-content\/uploads\/2017\/07\/display_image-7_opt.jpg?resize=100%2C100&amp;ssl=1 100w, https:\/\/i0.wp.com\/staging.centmagazine.co.uk\/wp-content\/uploads\/2017\/07\/display_image-7_opt.jpg?resize=600%2C605&amp;ssl=1 600w, https:\/\/i0.wp.com\/staging.centmagazine.co.uk\/wp-content\/uploads\/2017\/07\/display_image-7_opt.jpg?resize=680%2C685&amp;ssl=1 680w, https:\/\/i0.wp.com\/staging.centmagazine.co.uk\/wp-content\/uploads\/2017\/07\/display_image-7_opt.jpg?resize=300%2C302&amp;ssl=1 300w\" sizes=\"auto, (max-width: 580px) 100vw, 580px\" \/><\/a><\/p>\n<p style=\"text-align: right;\">Ernst Ludwig Kirchner<br \/>\n<em>Bridge at Wiesen<\/em><br \/>\n1926<br \/>\nOil on canvas<br \/>\n119 cm x 120 cm<br \/>\nKirchner Museum Davos<\/p>\n<p><a href=\"https:\/\/i0.wp.com\/centmagazine.co.uk\/wp-content\/uploads\/2017\/07\/display_image-6_opt.jpg\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-45689\" src=\"https:\/\/i0.wp.com\/centmagazine.co.uk\/wp-content\/uploads\/2017\/07\/display_image-6_opt.jpg?resize=580%2C580\" alt=\"display_image (6)_opt\" width=\"580\" height=\"580\" srcset=\"https:\/\/i0.wp.com\/staging.centmagazine.co.uk\/wp-content\/uploads\/2017\/07\/display_image-6_opt.jpg?w=700&amp;ssl=1 700w, https:\/\/i0.wp.com\/staging.centmagazine.co.uk\/wp-content\/uploads\/2017\/07\/display_image-6_opt.jpg?resize=150%2C150&amp;ssl=1 150w, https:\/\/i0.wp.com\/staging.centmagazine.co.uk\/wp-content\/uploads\/2017\/07\/display_image-6_opt.jpg?resize=300%2C300&amp;ssl=1 300w, https:\/\/i0.wp.com\/staging.centmagazine.co.uk\/wp-content\/uploads\/2017\/07\/display_image-6_opt.jpg?resize=100%2C100&amp;ssl=1 100w, https:\/\/i0.wp.com\/staging.centmagazine.co.uk\/wp-content\/uploads\/2017\/07\/display_image-6_opt.jpg?resize=600%2C600&amp;ssl=1 600w, https:\/\/i0.wp.com\/staging.centmagazine.co.uk\/wp-content\/uploads\/2017\/07\/display_image-6_opt.jpg?resize=680%2C680&amp;ssl=1 680w\" sizes=\"auto, (max-width: 580px) 100vw, 580px\" \/><\/a><\/p>\n<p style=\"text-align: right;\">Ernst Ludwig Kirchner<br \/>\n<em>At the Edge of the Forest<\/em><br \/>\nca 1935<br \/>\nOil on canvas<br \/>\n50 cm x 50 cm<br \/>\nKunsthaus Glarus<\/p>\n<p>Emotions distort our perception of reality. Think about it. When we are in a nice mood everything seems bright, beautiful and clear, while when we are in a bad mood everything seems hostile, obscure and bitter. The Expressionists, such as Kirchner, painted a reality based on what the inner eye saw, the eye of our soul and mind. The paintings of Kirchner are a mixture of disturbing landscapes, a nature overwhelmed by the feelings, charged with striking colours and complex shapes. Watching Kirchner\u2019s natures is like walking through a nightmare, a thriller location where our feelings make everything around us alive, responding to our moods.<\/p>\n<p><a href=\"https:\/\/i0.wp.com\/centmagazine.co.uk\/wp-content\/uploads\/2017\/07\/display_image-8_opt.jpg\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-45691\" src=\"https:\/\/i0.wp.com\/centmagazine.co.uk\/wp-content\/uploads\/2017\/07\/display_image-8_opt.jpg?resize=580%2C766\" alt=\"display_image (8)_opt\" width=\"580\" height=\"766\" srcset=\"https:\/\/i0.wp.com\/staging.centmagazine.co.uk\/wp-content\/uploads\/2017\/07\/display_image-8_opt.jpg?w=700&amp;ssl=1 700w, https:\/\/i0.wp.com\/staging.centmagazine.co.uk\/wp-content\/uploads\/2017\/07\/display_image-8_opt.jpg?resize=227%2C300&amp;ssl=1 227w, https:\/\/i0.wp.com\/staging.centmagazine.co.uk\/wp-content\/uploads\/2017\/07\/display_image-8_opt.jpg?resize=600%2C792&amp;ssl=1 600w, https:\/\/i0.wp.com\/staging.centmagazine.co.uk\/wp-content\/uploads\/2017\/07\/display_image-8_opt.jpg?resize=680%2C897&amp;ssl=1 680w, https:\/\/i0.wp.com\/staging.centmagazine.co.uk\/wp-content\/uploads\/2017\/07\/display_image-8_opt.jpg?resize=300%2C396&amp;ssl=1 300w\" sizes=\"auto, (max-width: 580px) 100vw, 580px\" \/><\/a><\/p>\n<p style=\"text-align: right;\">Ernst Ludwig Kirchner<br \/>\n<em>Laburnum Tree<\/em><br \/>\n1912-13<br \/>\nOil on canvas<br \/>\n101.5 cm x 76 cm<br \/>\nColby College Museum of Art<\/p>\n<p><strong>Giuseppe Arcimboldo<\/strong><\/p>\n<p><a href=\"https:\/\/i0.wp.com\/centmagazine.co.uk\/wp-content\/uploads\/2017\/07\/display_image-3_opt.jpg\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-45703\" src=\"https:\/\/i0.wp.com\/centmagazine.co.uk\/wp-content\/uploads\/2017\/07\/display_image-3_opt.jpg?resize=580%2C800\" alt=\"display_image (3)_opt\" width=\"580\" height=\"800\" srcset=\"https:\/\/i0.wp.com\/staging.centmagazine.co.uk\/wp-content\/uploads\/2017\/07\/display_image-3_opt.jpg?w=700&amp;ssl=1 700w, https:\/\/i0.wp.com\/staging.centmagazine.co.uk\/wp-content\/uploads\/2017\/07\/display_image-3_opt.jpg?resize=217%2C300&amp;ssl=1 217w, https:\/\/i0.wp.com\/staging.centmagazine.co.uk\/wp-content\/uploads\/2017\/07\/display_image-3_opt.jpg?resize=600%2C828&amp;ssl=1 600w, https:\/\/i0.wp.com\/staging.centmagazine.co.uk\/wp-content\/uploads\/2017\/07\/display_image-3_opt.jpg?resize=680%2C938&amp;ssl=1 680w, https:\/\/i0.wp.com\/staging.centmagazine.co.uk\/wp-content\/uploads\/2017\/07\/display_image-3_opt.jpg?resize=300%2C414&amp;ssl=1 300w\" sizes=\"auto, (max-width: 580px) 100vw, 580px\" \/><\/a><\/p>\n<p style=\"text-align: right;\">Giuseppe Arcimboldo<br \/>\n<em>Four Seasons in One Head<\/em><br \/>\nca 1590<br \/>\nOil on canvas<br \/>\n44.7 cm x 60.4 cm<br \/>\nNational Gallery of Art, Washington DC<\/p>\n<p><a href=\"https:\/\/i0.wp.com\/centmagazine.co.uk\/wp-content\/uploads\/2017\/07\/Giuseppe_Arcimboldo_-_La_Primavera_-_Google_Art_Project_opt.jpg\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-45704\" src=\"https:\/\/i0.wp.com\/centmagazine.co.uk\/wp-content\/uploads\/2017\/07\/Giuseppe_Arcimboldo_-_La_Primavera_-_Google_Art_Project_opt.jpg?resize=580%2C774\" alt=\"Giuseppe_Arcimboldo_-_La_Primavera_-_Google_Art_Project_opt\" width=\"580\" height=\"774\" srcset=\"https:\/\/i0.wp.com\/staging.centmagazine.co.uk\/wp-content\/uploads\/2017\/07\/Giuseppe_Arcimboldo_-_La_Primavera_-_Google_Art_Project_opt.jpg?w=700&amp;ssl=1 700w, https:\/\/i0.wp.com\/staging.centmagazine.co.uk\/wp-content\/uploads\/2017\/07\/Giuseppe_Arcimboldo_-_La_Primavera_-_Google_Art_Project_opt.jpg?resize=224%2C300&amp;ssl=1 224w, https:\/\/i0.wp.com\/staging.centmagazine.co.uk\/wp-content\/uploads\/2017\/07\/Giuseppe_Arcimboldo_-_La_Primavera_-_Google_Art_Project_opt.jpg?resize=600%2C800&amp;ssl=1 600w, https:\/\/i0.wp.com\/staging.centmagazine.co.uk\/wp-content\/uploads\/2017\/07\/Giuseppe_Arcimboldo_-_La_Primavera_-_Google_Art_Project_opt.jpg?resize=680%2C907&amp;ssl=1 680w, https:\/\/i0.wp.com\/staging.centmagazine.co.uk\/wp-content\/uploads\/2017\/07\/Giuseppe_Arcimboldo_-_La_Primavera_-_Google_Art_Project_opt.jpg?resize=300%2C400&amp;ssl=1 300w\" sizes=\"auto, (max-width: 580px) 100vw, 580px\" \/><\/a><\/p>\n<p style=\"text-align: right;\">Giuseppe Arcimboldo<br \/>\n<em>Spring<\/em><br \/>\n1573<br \/>\nOil on Canvas<br \/>\n76 \u00d7 64 cm<br \/>\nLouvre Museum, Paris<\/p>\n<p>There is an artist who is unique for the compositions he made. The Mannerist painter Giuseppe Arcimboldo is famous in the history of art for his bizarre compositions. The Grotesque, bizarre and puzzling were the typical features of Renaissance, and Arcimboldo managed to convey them on his canvases. He created portraits mixing together elements of nature, creating awkward but fascinating depictions. Spring is a man made of flowers; Wertumnus, the god of seasons, is made of flowers and vegetables; the embodiment of the four seasons has trees and plants, flowers and fruits all together. It&#8217;s an unnutural but at the same time naturalistic composition that transmits a sense of mystery and symbolism.<\/p>\n<p><a href=\"https:\/\/i0.wp.com\/centmagazine.co.uk\/wp-content\/uploads\/2017\/07\/Vertumnus_a%CC%8Arstidernas_gud_ma%CC%8Alad_av_Guiseppe_Arcimboldo_1591_-_Skoklosters_slott_-_91503_opt.jpg\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-45705\" src=\"https:\/\/i0.wp.com\/centmagazine.co.uk\/wp-content\/uploads\/2017\/07\/Vertumnus_a%CC%8Arstidernas_gud_ma%CC%8Alad_av_Guiseppe_Arcimboldo_1591_-_Skoklosters_slott_-_91503_opt.jpg?resize=580%2C719\" alt=\"Vertumnus_a\u030arstidernas_gud_ma\u030alad_av_Guiseppe_Arcimboldo_1591_-_Skoklosters_slott_-_91503_opt\" width=\"580\" height=\"719\" srcset=\"https:\/\/i0.wp.com\/staging.centmagazine.co.uk\/wp-content\/uploads\/2017\/07\/Vertumnus_a%CC%8Arstidernas_gud_ma%CC%8Alad_av_Guiseppe_Arcimboldo_1591_-_Skoklosters_slott_-_91503_opt.jpg?w=700&amp;ssl=1 700w, https:\/\/i0.wp.com\/staging.centmagazine.co.uk\/wp-content\/uploads\/2017\/07\/Vertumnus_a%CC%8Arstidernas_gud_ma%CC%8Alad_av_Guiseppe_Arcimboldo_1591_-_Skoklosters_slott_-_91503_opt.jpg?resize=241%2C300&amp;ssl=1 241w, https:\/\/i0.wp.com\/staging.centmagazine.co.uk\/wp-content\/uploads\/2017\/07\/Vertumnus_a%CC%8Arstidernas_gud_ma%CC%8Alad_av_Guiseppe_Arcimboldo_1591_-_Skoklosters_slott_-_91503_opt.jpg?resize=600%2C744&amp;ssl=1 600w, https:\/\/i0.wp.com\/staging.centmagazine.co.uk\/wp-content\/uploads\/2017\/07\/Vertumnus_a%CC%8Arstidernas_gud_ma%CC%8Alad_av_Guiseppe_Arcimboldo_1591_-_Skoklosters_slott_-_91503_opt.jpg?resize=680%2C843&amp;ssl=1 680w, https:\/\/i0.wp.com\/staging.centmagazine.co.uk\/wp-content\/uploads\/2017\/07\/Vertumnus_a%CC%8Arstidernas_gud_ma%CC%8Alad_av_Guiseppe_Arcimboldo_1591_-_Skoklosters_slott_-_91503_opt.jpg?resize=300%2C372&amp;ssl=1 300w\" sizes=\"auto, (max-width: 580px) 100vw, 580px\" \/><\/a><\/p>\n<p style=\"text-align: right;\">Giuseppe Arcimboldo<br \/>\n<em>Vertumnus<\/em><br \/>\n1591<br \/>\nOil on canvas<br \/>\n700 mm x 580 mm<br \/>\nSkokloster Castle, Sweden<\/p>\n<p><strong>Gustav Klimt<\/strong><\/p>\n<p><a href=\"https:\/\/i0.wp.com\/centmagazine.co.uk\/wp-content\/uploads\/2017\/07\/display_image_opt.jpg\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-45730\" src=\"https:\/\/i0.wp.com\/centmagazine.co.uk\/wp-content\/uploads\/2017\/07\/display_image_opt.jpg?resize=580%2C363\" alt=\"display_image_opt\" width=\"580\" height=\"363\" srcset=\"https:\/\/i0.wp.com\/staging.centmagazine.co.uk\/wp-content\/uploads\/2017\/07\/display_image_opt.jpg?w=700&amp;ssl=1 700w, https:\/\/i0.wp.com\/staging.centmagazine.co.uk\/wp-content\/uploads\/2017\/07\/display_image_opt.jpg?resize=300%2C187&amp;ssl=1 300w, https:\/\/i0.wp.com\/staging.centmagazine.co.uk\/wp-content\/uploads\/2017\/07\/display_image_opt.jpg?resize=600%2C375&amp;ssl=1 600w, https:\/\/i0.wp.com\/staging.centmagazine.co.uk\/wp-content\/uploads\/2017\/07\/display_image_opt.jpg?resize=680%2C425&amp;ssl=1 680w\" sizes=\"auto, (max-width: 580px) 100vw, 580px\" \/><\/a><\/p>\n<p style=\"text-align: right;\">Gustav Klimt<br \/>\n<em>The Tree of Life<\/em><br \/>\n1909<br \/>\nOil on canvas<br \/>\n195 cm \u00d7 102 cm<br \/>\nMuseum of Applied Arts, Vienna, Austria<\/p>\n<p><a href=\"https:\/\/i0.wp.com\/centmagazine.co.uk\/wp-content\/uploads\/2017\/07\/display_image-1_opt.jpg\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-45728\" src=\"https:\/\/i0.wp.com\/centmagazine.co.uk\/wp-content\/uploads\/2017\/07\/display_image-1_opt.jpg?resize=580%2C815\" alt=\"display_image (1)_opt\" width=\"580\" height=\"815\" srcset=\"https:\/\/i0.wp.com\/staging.centmagazine.co.uk\/wp-content\/uploads\/2017\/07\/display_image-1_opt.jpg?w=700&amp;ssl=1 700w, https:\/\/i0.wp.com\/staging.centmagazine.co.uk\/wp-content\/uploads\/2017\/07\/display_image-1_opt.jpg?resize=213%2C300&amp;ssl=1 213w, https:\/\/i0.wp.com\/staging.centmagazine.co.uk\/wp-content\/uploads\/2017\/07\/display_image-1_opt.jpg?resize=600%2C843&amp;ssl=1 600w, https:\/\/i0.wp.com\/staging.centmagazine.co.uk\/wp-content\/uploads\/2017\/07\/display_image-1_opt.jpg?resize=680%2C955&amp;ssl=1 680w, https:\/\/i0.wp.com\/staging.centmagazine.co.uk\/wp-content\/uploads\/2017\/07\/display_image-1_opt.jpg?resize=300%2C421&amp;ssl=1 300w\" sizes=\"auto, (max-width: 580px) 100vw, 580px\" \/><\/a><\/p>\n<p style=\"text-align: right;\">Gustav Klimt<br \/>\n<em>The Sunflower<\/em><br \/>\n1906 &#8211; 1907<br \/>\nOil on canvas<br \/>\n110 x 110 cm<br \/>\nPrivate Collection<\/p>\n<p>Klimt is one of the main exponents of the Art Nouveau. His art is imbued with symbolism and decoration elements. He uses a lot of gold and fine colours creating very exquisite compositions. Nature is also overwhelmed by symbolism and decoration hints. Klimt perceived a certain delight in the opulence and abundance of nature. Nature in Klimt oeuvre is full of details and fine elements. Flowers look like precious gems or tesserae of a mosaic. Plants and vegetation become geometric shapes that seem to adorn a particular reality in which natural subjects become unnatural, charged in their symbolism and decorative hues.<\/p>\n<p><a href=\"https:\/\/i0.wp.com\/centmagazine.co.uk\/wp-content\/uploads\/2017\/07\/display_image-2_opt.jpg\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-45729\" src=\"https:\/\/i0.wp.com\/centmagazine.co.uk\/wp-content\/uploads\/2017\/07\/display_image-2_opt.jpg?resize=580%2C572\" alt=\"display_image (2)_opt\" width=\"580\" height=\"572\" srcset=\"https:\/\/i0.wp.com\/staging.centmagazine.co.uk\/wp-content\/uploads\/2017\/07\/display_image-2_opt.jpg?w=700&amp;ssl=1 700w, https:\/\/i0.wp.com\/staging.centmagazine.co.uk\/wp-content\/uploads\/2017\/07\/display_image-2_opt.jpg?resize=300%2C295&amp;ssl=1 300w, https:\/\/i0.wp.com\/staging.centmagazine.co.uk\/wp-content\/uploads\/2017\/07\/display_image-2_opt.jpg?resize=100%2C100&amp;ssl=1 100w, https:\/\/i0.wp.com\/staging.centmagazine.co.uk\/wp-content\/uploads\/2017\/07\/display_image-2_opt.jpg?resize=600%2C591&amp;ssl=1 600w, https:\/\/i0.wp.com\/staging.centmagazine.co.uk\/wp-content\/uploads\/2017\/07\/display_image-2_opt.jpg?resize=680%2C670&amp;ssl=1 680w\" sizes=\"auto, (max-width: 580px) 100vw, 580px\" \/><\/a><\/p>\n<p style=\"text-align: right;\">Gustav Klimt<br \/>\n<em>Garden Path with Chicken<\/em><br \/>\n1916<br \/>\nOil on canvas<br \/>\n110 x 110 cm<br \/>\nDestroyed by a fire set by retreating German forces in 1945 at Schloss Immendorf, Austria.<\/p>\n<p><strong>Paul C\u00e9zanne<\/strong><\/p>\n<p><a href=\"https:\/\/i0.wp.com\/centmagazine.co.uk\/wp-content\/uploads\/2017\/07\/Paul_Ce%CC%81zanne_107_opt.jpg\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-45733\" src=\"https:\/\/i0.wp.com\/centmagazine.co.uk\/wp-content\/uploads\/2017\/07\/Paul_Ce%CC%81zanne_107_opt.jpg?resize=580%2C428\" alt=\"Paul_Ce\u0301zanne_107_opt\" width=\"580\" height=\"428\" srcset=\"https:\/\/i0.wp.com\/staging.centmagazine.co.uk\/wp-content\/uploads\/2017\/07\/Paul_Ce%CC%81zanne_107_opt.jpg?w=700&amp;ssl=1 700w, https:\/\/i0.wp.com\/staging.centmagazine.co.uk\/wp-content\/uploads\/2017\/07\/Paul_Ce%CC%81zanne_107_opt.jpg?resize=300%2C221&amp;ssl=1 300w, https:\/\/i0.wp.com\/staging.centmagazine.co.uk\/wp-content\/uploads\/2017\/07\/Paul_Ce%CC%81zanne_107_opt.jpg?resize=600%2C443&amp;ssl=1 600w, https:\/\/i0.wp.com\/staging.centmagazine.co.uk\/wp-content\/uploads\/2017\/07\/Paul_Ce%CC%81zanne_107_opt.jpg?resize=680%2C502&amp;ssl=1 680w\" sizes=\"auto, (max-width: 580px) 100vw, 580px\" \/><\/a><\/p>\n<p style=\"text-align: right;\">Paul C\u00e9zanne<br \/>\n<em>Mont Sainte-Victoire<\/em><br \/>\nca 1887<br \/>\nOil on canvas<br \/>\n67 \u00d7 92 cm<br \/>\nCourtauld Institute of Art, London<\/p>\n<p><a href=\"https:\/\/i0.wp.com\/centmagazine.co.uk\/wp-content\/uploads\/2017\/07\/display_image-4_opt.jpg\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-45732\" src=\"https:\/\/i0.wp.com\/centmagazine.co.uk\/wp-content\/uploads\/2017\/07\/display_image-4_opt.jpg?resize=580%2C727\" alt=\"display_image (4)_opt\" width=\"580\" height=\"727\" srcset=\"https:\/\/i0.wp.com\/staging.centmagazine.co.uk\/wp-content\/uploads\/2017\/07\/display_image-4_opt.jpg?w=700&amp;ssl=1 700w, https:\/\/i0.wp.com\/staging.centmagazine.co.uk\/wp-content\/uploads\/2017\/07\/display_image-4_opt.jpg?resize=239%2C300&amp;ssl=1 239w, https:\/\/i0.wp.com\/staging.centmagazine.co.uk\/wp-content\/uploads\/2017\/07\/display_image-4_opt.jpg?resize=600%2C752&amp;ssl=1 600w, https:\/\/i0.wp.com\/staging.centmagazine.co.uk\/wp-content\/uploads\/2017\/07\/display_image-4_opt.jpg?resize=680%2C852&amp;ssl=1 680w, https:\/\/i0.wp.com\/staging.centmagazine.co.uk\/wp-content\/uploads\/2017\/07\/display_image-4_opt.jpg?resize=300%2C376&amp;ssl=1 300w\" sizes=\"auto, (max-width: 580px) 100vw, 580px\" \/><\/a><\/p>\n<p style=\"text-align: right;\">Paul C\u00e9zanne<br \/>\n<em>The Aqueduct<\/em><br \/>\n1897-1900<br \/>\nOil on canvas<br \/>\n91 cm x 71 cm<br \/>\nThe Pushkin State Museum of Fine Arts, Moscow<\/p>\n<p>Paul C\u00e9zanne is a Postimpressionist painter. He took inspiration from the Impressionists for their techniques and subjects. However, the Impressionists thought that reality was fugitive and transient. They wanted to catch a particular moment, a particular light, because they knew that everything flows, changes, so every second was important, an the same subject moment after moment was already in the process of changing. C\u00e9zanne did not share the same conception. He thought that there must be something solid, sure and certain in this life. He wants certainties. If everything is fugitive and is transient, where identity and solidity take place? For this reason C\u00e9zanne introduced geometric figures in his compositions. His figures but also his landscapes are overwhelmed by geometric shapes that give a sense of solidity and firmness. Trees, mountains, plants, everything is imbued with geometry. In fact the painter&#8217;s nature is not properly realistic, he is not interested in naturalism, but in the certain emotions and the certain identity that the landscape enshrine. An identity that is solid and resists the fugitive passing of time. C\u00e9zanne, for his introduction of geometry in the compositions, is indeed considered the forerunner of cubism.<\/p>\n<p><a href=\"https:\/\/i0.wp.com\/centmagazine.co.uk\/wp-content\/uploads\/2017\/07\/the-lac-d-annecy-1896_opt.jpg\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-45734\" src=\"https:\/\/i0.wp.com\/centmagazine.co.uk\/wp-content\/uploads\/2017\/07\/the-lac-d-annecy-1896_opt.jpg?resize=580%2C447\" alt=\"the-lac-d-annecy-1896_opt\" width=\"580\" height=\"447\" srcset=\"https:\/\/i0.wp.com\/staging.centmagazine.co.uk\/wp-content\/uploads\/2017\/07\/the-lac-d-annecy-1896_opt.jpg?w=700&amp;ssl=1 700w, https:\/\/i0.wp.com\/staging.centmagazine.co.uk\/wp-content\/uploads\/2017\/07\/the-lac-d-annecy-1896_opt.jpg?resize=300%2C231&amp;ssl=1 300w, https:\/\/i0.wp.com\/staging.centmagazine.co.uk\/wp-content\/uploads\/2017\/07\/the-lac-d-annecy-1896_opt.jpg?resize=600%2C462&amp;ssl=1 600w, https:\/\/i0.wp.com\/staging.centmagazine.co.uk\/wp-content\/uploads\/2017\/07\/the-lac-d-annecy-1896_opt.jpg?resize=680%2C523&amp;ssl=1 680w\" sizes=\"auto, (max-width: 580px) 100vw, 580px\" \/><\/a><\/p>\n<p style=\"text-align: right;\">Paul C\u00e9zanne<br \/>\n<em>Le Lac d&#8217;Annecy<\/em><br \/>\n1896<br \/>\nOil on canvas<br \/>\n81 x 65 cm<br \/>\nThe Courtauld Gallery, London<\/p>\n","protected":false},"excerpt":{"rendered":"<p>We have always been used to watching nice paintings, nice depictions showing a vase with flowers, a landscape or a&#8230;<\/p>\n","protected":false},"author":1,"featured_media":45693,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"om_disable_all_campaigns":false,"_monsterinsights_skip_tracking":false,"_uf_show_specific_survey":0,"_uf_disable_surveys":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_post_was_ever_published":false},"categories":[11],"tags":[28,11222,11221,11226,6309,11223,782,5174,11225,5177,1510,8091,11220,11140,11224],"features_issues":[],"featured_themes":[],"ppma_author":[16671],"class_list":["post-45637","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-art","tag-art-2","tag-arte","tag-botanic","tag-depictions","tag-green","tag-kirchner","tag-landscape","tag-lush","tag-manuscript","tag-nature","tag-painting","tag-plants","tag-unnatural","tag-vegetation","tag-voynich"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.2 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Lush; Unnatural Nature: Unusual Depictions of Vegetations and Landscapes. | Cent Magazine<\/title>\n<meta name=\"robots\" content=\"noindex, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<meta property=\"og:locale\" content=\"en_GB\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Lush; Unnatural Nature: Unusual Depictions of Vegetations and Landscapes. | Cent Magazine\" \/>\n<meta property=\"og:description\" content=\"We have always been used to watching nice paintings, nice depictions showing a vase with flowers, a landscape or a...\" \/>\n<meta property=\"og:url\" content=\"https:\/\/staging.centmagazine.co.uk\/?p=45637\" \/>\n<meta property=\"og:site_name\" content=\"Cent Magazine\" \/>\n<meta property=\"article:published_time\" content=\"2017-07-12T13:50:35+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2017-07-12T14:33:08+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/i0.wp.com\/staging.centmagazine.co.uk\/wp-content\/uploads\/2017\/07\/display_image-6_opt-1.jpg?fit=238%2C238&ssl=1\" \/>\n\t<meta property=\"og:image:width\" content=\"238\" \/>\n\t<meta property=\"og:image:height\" content=\"238\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Jo Phillips\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Jo Phillips\" \/>\n\t<meta name=\"twitter:label2\" content=\"Estimated reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"5 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/staging.centmagazine.co.uk\\\/?p=45637#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/staging.centmagazine.co.uk\\\/?p=45637\"},\"author\":{\"name\":\"Jo Phillips\",\"@id\":\"https:\\\/\\\/staging.centmagazine.co.uk\\\/#\\\/schema\\\/person\\\/9b56d16b50b53f84b367add207eeec08\"},\"headline\":\"Lush; 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