Segundo Holzer (1999) o termo surge no seculo XV, derivando de landschaft (palavra de origem alema que se refere a uma associacao entre o sitio e seus habitantes), que por sua vez, deu origem ao termo holandes landschap (landskip
), que, em outro momento, fez surgir a palavra landscape na lingua inglesa.
He is a co-founder of WALK (Walking, Art, Landskip
and Knowledge), a research centre at the University of Sunderland.
Thus, she begins by observing the emergence of what we now call landscape from the Dutch vernacular term "landskip
," which referred to artistic depictions of natural scenery; "only gradually did it come to be used to denote actual places rather than the subjective simulacra of them that artists produced on canvas and paper" (2).
(17) Marvell's use of the term "Landskip
" (458) established theoretically his use of the flea and other fanciful images, since Norgate explains in Miniatura, "Lanscape is nothing but Deceptive visions, a kind of cousning or cheating your owne Eyes, by your owne consent and assistance" (51).
In an oft-quoted memorandum to the Duke and Duchess of Marlborough he petitioned for the retention of the old ruined manor, 'So that all the Buildings left, (which is only the Habitable Part and the Chapell) might Appear in two Risings amongst 'em, it wou'd make One of the Most Agreable Objects that the best of the Landskip
Painters can invent'.
In its current rather tired state it's probably appropriate one of the last exhibitions is Landskip
: The King Shoddy Show featuring photos of rubbish left in attractive places, and collections of found items.
The exhibition, The King Shoddy Show, is part of Grant's larger ongoing project Landskip
, which has to do with the threat of rubbish-dumping, both official and unofficial, to Britain's landscape.
In August 1668, the King bought a 'Landskip
of Windsor' for 10 [pounds sterling], and in June, 1669, pictures of 'Saturne and Venus' for the same sum.
Moist, bright, and green, the Landskip
Written on the eve of Wordsworth's departure from Hawkshead grammar school for Cambridge, The Vale of Esthwaite opens with locodescription of its poet-speaker's own valedictory and melancholy wanderings amid his beloved 'landskip
's various treasure'.
Ritter also draws a distinction between landscape and landskip
in the latter there is pictorial organization involving distances and perspective, whereby point of view, spatial relationships, colours and optical effects create a `prospect'.