Still Life Chapter 9 Landscapes
Studies IV March 15, 2014
Photographs Inspired by Giorgio Morandi
Fig.#1 Morandi inspired Landscape photograph, Chapter 9
For an Introduction to the Still Life project and the links to all of its chapters visit: Still Life
Click on the images once to enlarge
The image of nature in Morandi's work is so
completely interiorized that nothing remains in it that is
external to this full and absolute presence of the spirit . . . There
is nothing more lucidly true, nothing more lucidly fantastic, than these
Morandi Landscapes in which the accuracy and precision of the relations of
light, color, space, and volume are equal to the power of transfiguration and song,
to the evocative lyrical strength of every note." ---------------------------- Casare Gnudi 1946
Fig. 2 Morandi 1942 oil Landscape
Click on the images to enlarge
Introduction
Morandi would never paint a sunset, or a landscape with a figure in it; his sister once said Morandi loved modest, unglamorous things. Though he would at times paint in the landscape, Morandi painted mostly inside his studio. His landscapes were often views he could obtain from looking out of the window of his studio.
It is important to remember, Morandi insisted that he painted from nature, from reality; he painted what he saw. However when he was in the protected, silent seclusion of his studio, his contemplations and his painting (which are essentially one and the same) would take him into the Imaginal World where he was able to "see" and "touch" the inner essence, the living consciousness, of the infinite things he encountered within that subtle realm. His paintings reveal more than what the outer eye can see, and more than the thinking mind can understand. Of course this is our great good fortune: his works of art are gifts to us of his seeing which, I believe, were a delicately balanced combination of inner and outer realities.
Morandi's later landscapes, and many he painted in the 1930s and 1940s, were often an intense visual experiment in simplification, distillation, and abstraction; in this regard they are not so different from his still life paintings. Though he never included human figures in his landscapes, they almost always included the human presence, usually in the form of simplified architectural shapes which were little more than windowless cubes with triangles on top - much like the humble objects he used for his still life paintings, and much like the house he had built for himself and his sisters around 1960 in Grizanna.
The Grizanna Landscapes
Morandi would spend summer holidays in Grizanna, a small village in the mountains about an hour's drive from Bologna. He and his sisters stayed in a studio apartment in the village for many years, but in the last four years of his life he was able to stay in his own house, one that he designed himself. As the story goes, he drew a simple childlike drawing of a building (a cube with a triangle on top, one door and four windows) and asked the architect to work from that basic visual idea. One could almost say in those last years spent in Grizanna Morandi literally inhabited the image of human presence which he painted into most of his landscapes. And he enjoyed being in his house; he would not return to Bologna until the colder temperatures of approaching winter forced him back to his apartment and studio there.
The windows in the Grizanna house were arranged to allow Morandi multiple views of the surrounding landscape. With the help of spy glasses he would paint selected distant compositions from inside his house. Indeed his landscape paintings often reveal the optical flattening of space typical of seeing through long focal length lenses.
Even when Morandi painted in the landscape, the shapes, colors, tones, spaces and visual structures which he found in the natural world simply served as mirrors, it seems to me, mirrors which awakened in him corresponding interior archetypal images, forms and structures. His best landscape paintings, like his still lifes, are nothing less than self-portraits of a great old soul, images of timeless beauty, offerings of a transcendent kind of meaning: news from the universe.
Kafka wrote this on a page of his notepad:
"There is no need to go out of the house. Stay at
your desk and listen. Do not even listen, just wait. Do not
wait either, just stay there, alone, in silence. The world will come
to you to be unmasked, it cannot help it, it will wallow rapturous at your feet."
Giorgio Messori, as quoted by Mario Chemello in his liner notes accompanying the DVD : Morandi's Dust
It is important to remember, Morandi insisted that he painted from nature, from reality; he painted what he saw. However when he was in the protected, silent seclusion of his studio, his contemplations and his painting (which are essentially one and the same) would take him into the Imaginal World where he was able to "see" and "touch" the inner essence, the living consciousness, of the infinite things he encountered within that subtle realm. His paintings reveal more than what the outer eye can see, and more than the thinking mind can understand. Of course this is our great good fortune: his works of art are gifts to us of his seeing which, I believe, were a delicately balanced combination of inner and outer realities.
Morandi's later landscapes, and many he painted in the 1930s and 1940s, were often an intense visual experiment in simplification, distillation, and abstraction; in this regard they are not so different from his still life paintings. Though he never included human figures in his landscapes, they almost always included the human presence, usually in the form of simplified architectural shapes which were little more than windowless cubes with triangles on top - much like the humble objects he used for his still life paintings, and much like the house he had built for himself and his sisters around 1960 in Grizanna.
The Grizanna Landscapes
Morandi would spend summer holidays in Grizanna, a small village in the mountains about an hour's drive from Bologna. He and his sisters stayed in a studio apartment in the village for many years, but in the last four years of his life he was able to stay in his own house, one that he designed himself. As the story goes, he drew a simple childlike drawing of a building (a cube with a triangle on top, one door and four windows) and asked the architect to work from that basic visual idea. One could almost say in those last years spent in Grizanna Morandi literally inhabited the image of human presence which he painted into most of his landscapes. And he enjoyed being in his house; he would not return to Bologna until the colder temperatures of approaching winter forced him back to his apartment and studio there.
The windows in the Grizanna house were arranged to allow Morandi multiple views of the surrounding landscape. With the help of spy glasses he would paint selected distant compositions from inside his house. Indeed his landscape paintings often reveal the optical flattening of space typical of seeing through long focal length lenses.
Even when Morandi painted in the landscape, the shapes, colors, tones, spaces and visual structures which he found in the natural world simply served as mirrors, it seems to me, mirrors which awakened in him corresponding interior archetypal images, forms and structures. His best landscape paintings, like his still lifes, are nothing less than self-portraits of a great old soul, images of timeless beauty, offerings of a transcendent kind of meaning: news from the universe.
Fig. 3 Morandi 1960 oil Landscape
Grizzana does not appear to
be an inspiring landscape for a modern
artist. . . The beauty in the Grizzana landscape
was all in Morandi's ability to visualize it; he took
possession of the countryside and abstracted its essence in
his paintings. --------------------------------------------- Janet Abramowicz
Fig. 4 Morandi 1935 oil Landscape
The duration of these landscapes is
infinite: the image of them goes back indefinitely,
in indeterminate focus; they are primarily mental images
conserved and reactivated by memory. Landscapes reflected
on over time, fixed and established as they are, without any particular
purpose. They lend their undergrowth and meadows, their density of shadow
and open expanses, to an internal process and he readapts them in a sequence of
simple colors and rearranges them in changed spatial relationships. ---------- C. Brandi
Fig. 5 Morandi 1962 oil Landscape
"Nothing is more abstract than reality."
Morandi's landscapes thus become a spiritual
form that combines vision--never detached from memory--
and creativity so that every work creates a landscape that is ideal
but based on something real inside us. This is the concrete search for the
"landscape as state of mind," where nature reveals its feelings, human beings
know themselves, and space is none other than the subtlest light. ------ Rinato Miracco
Fig. 6 Morandi 1963 oil Landscape
Morandi's landscapes are sever, devoid
of naturalism, absolute, and decisively structured.
They combine incomparable pictorial qualities: carefully
identified natural data, synthetism derived from a meditation on
Cezanne, ever-exploratory mental formulations, singleness of purpose,
and confidence in choice of colors and extraordinary tonal values. These were
never painted en plain air, but investigated, sometimes with the aid of a telescope,
from a window. ----------------------------------------------------------------- Maria Cristina Bandera
note: all quotes in green are from the 2008 Skira publication
except J. Abramowicz's, from her The Art of Silence
except J. Abramowicz's, from her The Art of Silence
The Via Fontezza Courtyard "Landscapes"
Morandi's landscapes are generally more radical than his still lifes in their painterly transformation, and more urgently emotional. Perhaps the shimmering and changing aliveness of the natural world demanded of Morandi this more intense pictorial expression of his vision.
In the 1920's Morandi began working on what would become a continuing series of "landscape" paintings based on views from his second floor studio window in Bologna. He could look down from his window and see a courtyard which included small gardens, trees and bushes surrounded by the walls of nearby buildings. Many of the courtyard paintings did not include sky because he was looking down. Some of the paintings seem to be representing the courtyard as if viewed from the ground level, from inside the courtyard. (fig. 8, 9)
But he also painted views from his studio window that looked out and over the courtyard to the buildings and their rooftops and the sky beyond. Of the four courtyard images I've provided below, all of which were made in the 1950's, the first one ( fig. 7 ) is of particular interest. A wall in the left foreground blocks nearly half of the view. Janet Abramowics, (Morandi's studio assistant, who earlier had been one of his students) explains that in 1953 a large apartment house was constructed close to Morandi's apartment building which cut off half of his studio view. This infuriated Morandi: not only was his view obstructed, but the new building affected the light coming into his studio. Interestingly, Morandi painted several variations on this motif.
Morandi usually titled his landscape paintings, including the courtyard urban views, Paesaggio ("Landscapes"). His simple titles most often would not include details, such as place names, because his paintings were not about this world. They were, like his still lifes, about painterly spaces, color, tone and light . . . which, together as a unified visual whole functioned as revelations of an internal, abstract archetypal reality, or as one writer put it "landscapes of the mind."
Fig. 7 Morandi 1954 oil Via Fondazza Courtyard
Fig. 8 Morandi 1954 oil Via Fondazza Courtyard
Fig. 9 Morandi 1959 oil Via Fondazza Courtyard
Fig. 10 Morandi 1963 oil Via Fondazza Courtyard
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SynchronicityI'm fascinated by the fact that Morandi painted landscape views from his studio windows; I've been doing that myself for the past five years. From both the picture window in my house, and from my backyard deck I can look out over a wonderful view of a meadow with two ponds, a beautiful tapering woods and beyond that some rolling hills. I began an ongoing photographic study of the meadow in 2008 Visit The Meadow Series. I revised some of these earlier images (fig. 1 for example) for inclusion in this project, and I have included some new meadow images made especially for this project.
Under the back deck is the entrance to my wife's pottery studio; its sliding glass door provides a soft Morandi-like natural light for the studio and a fascinating ground level view of the meadow. If you've seen my chapter 8 project, The Studio, you already know I used Gloria's studio for several Morandi inspired still life photographs. Visit The Studio & Flowers and Plants.
Just recently (mid February 2014) I made a new "landscape" photograph from the door of the studio. (fig. #2 below) The snowdrift was just outside the studio's entrance, under the deck which was casting it's shadow on the drift and darkening its tones in relation to the other wave-like snow forms behind it. The little plant sticking out of the snow in the foreground looks like a tree at the base of a large mountain range or a vast stretch of sand dunes. This image initiated a new series of photographs for this project entitled Miniature Landscapes.
Fig.#11 Morandi inspired Landscape photograph, Chapter 9
This photograph is a good example of a phenomena known as synchronicity, the a-causal spontaneous falling together of real world events with their unconscious psychic counterparts. I had just about completed The Studio project and had already begun thinking about Morandi's landscapes in preparation for the present project when I saw the snowdrift outside the studio window. In fact I took the snowdrift picture immediately after making the final still life photograph for the Studio project.
I actually have these kinds of intuitive, synchronistic experiences quite a lot when I am intensely engaged in my creative process. I have learned to watch with close attention for these kinds of spontaneous meaningful events. In 1972, while writing my MFA thesis, I began to understand that synchronicity is at the very heart of my creative process. (See my two essays: The Symbolic Photograph and Correspondence & The Imaginal World)
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Fig.#12 Morandi inspired Landscape photograph, Chapter 9
Windows & Mirrors
As I was contemplating the important role Morandi's studio window played in his creative process, and writing about my experience of synchronicity which led to the making of the snowdrift photograph, I was reminded of a concept about photographic picture making made popular in the early 1980s: Mirrors and Windows. John Szarkowski, director of the Department of Photography at the Museum of Modern Art, NYC, created a popular exhibition and book on this theme.
Briefly, Windows represent the idea that a photograph is a mechanical-chemical scientific representation of the visible world, an objective record of fact, in other words a "window on the world."
Mirrors, on the other hand, represents the idea that a photographic image can function as a symbol for things invisible, including subjective feelings, ideas, or revelations of a more transcendent or psychic kind of reality. A photograph that functions as a mirror is not about what was photographed; rather the photograph's visual-formal language, and to some extent its content, has the inexplicable ability to reflect back to the viewer unconscious psychic meanings that he or she projects onto the image. A photograph that functions as a mirror is, in psychological terms, a symbol.
According to depth psychologist C.G. Jung, a symbol "is the best possible expression for that which is presently unknown." (This idea is diametrically opposed to how a sign functions, that is, an image which represents literal content with a pre-established meaning which we collectively agree upon (for example a stop sign on the corner of a street.)
A true symbolic photograph is the product of a synchronistic unconscious perceptual experience. The image unites unconscious psychic forms and structures with outside corresponding worldly forms and structures. Images that function for us as symbols feel particularly meaningful; a sense of mystery or numinosity often accompanies our response to visual symbols.
In the history of photography, Alfred Stieglitz (1864-1946) understood this concept and actually made photographs which were intended to function as mirrors, or symbols: he called them equivalents. And more recently Minor White, an important photographer and teacher has carried Stieglitz's ideas forward into the 1960's and 70s. When I started teaching in the early 197os the idea of synchronicity and the symbolic photograph was at the heart of my picture making and teaching, and they are just as relevant to me today. (The Symbolic Photograph and Correspondence & The Imaginal World)
My landscape photograph above (Fig. #12, from The Meadow Series) functions for me as a symbol or equivalent. It's formal qualities and its emotional atmosphere represent states of feeing and a kind of seeing that - like all of Morandi's landscape imagery - goes beyond the literal descriptive surfaces of the things pictured.
Morandi's paintings are always about a transcendent vision, a spiritual-imaginal world that is both personal and transpersonal simultaneously. His work attracts me and inspires me for exactly this reason. His landscape paintings embrace and give visual expression to what for me is a mysterious life energy or consciousness that I experience as a special kind of presence or meaning in the land, in the Natural World. I believe that same energy is alive in Morandi and in each and every one of us, and I believe his paintings help many of us recognize this hidden reality within ourselves because his paintings function as symbols.
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Recurring Motifs
The image below (Fig. #13) is from an earlier project entitled Windswept Landscapes. I have revised this and other windswept images for inclusion in this project. It's a transformed version of a photograph I took of Canandaigua Lake, which is surrounded by rolling hills in New York State's Finger Lakes region. The image shares some formal attributes which are consistent with several other photographs I am presenting in this project: in particular I am thinking of the horizontal banding and the vertical layering of the bands within the square format. These formal motifs have been repeatedly manifesting themselves in my work, spontaneously, over many years in many different projects. See for example Intimate Landscapes and The Lake Series and City Places.
Fig.#13 Morandi inspired Landscape photograph, Chapter 9
Square Landscape images
These recurring formal motifs in my work I believe have something to do with the format I am working in. The compactness of a square image can generate a feeling of intense containment and potentiality. Thus the concentrated energy within a square image needs to build vertically if it's to become released at all.
It's a special challenge to make articulate square landscape photographs: it seems rather self-evident that landscapes should be long in format, and this is largely the art historical convention for the genre. But I wanted to maintain the continuity of the square format I've been using throughout the other Still Life projects.
There is something inherently abstract about the square format, and the square I think helps to compensate for what is a popular assumption regarding the photographic medium: that is to say, its veracity or accuracy, its fidelity to reality. Such assumptions can distract viewers from the more subtle levels of symbolic meaning encoded within a photographic image.
Morandi's landscape paintings celebrate his masterly use of the medium: he brings so much presence to his oil paintings through his brushwork, the thickness or thinness of the paint, the carefully controlled colors and tones, the quality of light, the degree of abstraction and formal structuring of the archetypal shapes that he gets both from the scene he is seeing before him in the real world, and his ability to invent and bring additional material into the work from within himself, from his psychic or imaginal world.
Interestingly, Morandi often chose to work in the square format, or the nearly square format. Several of his paintings which I've included above are square or close to square in format. And in chapter 7 I wrote about a series of square flower paintings Morandi created that were celebrated by his friend and perceptive art critic Francisco Arcangeli, particularly for the formal qualities he associated with their square format.
When I photograph, I pre-visualize the square image within the longer digital camera format and then I later crop the image to a square. In cases where I am revising earlier images that were originally in the longer, horizontal format, I find that when I crop and compress and adjust those images to a square it's like discovering or creating a new image; it's like finding a hidden gem inside the original image. By cutting away the excess and reducing the image to a square, its core purity becomes concentrated, intensified and in a sense liberated.
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Fig.#14 Morandi 1962 Landscape drawing
Fig.#15 Miniature Landscape photograph
Morandi's Drawings
Morandi's drawings represent an extreme form of visual reduction and concentrated seeing. I will never forget my experience of seeing a small Morandi drawing in the Morandi Museum in 2007 during my short visit in Bologna. I was in a daze, feeling overwhelmed by seeing so many paintings by Morandi all at once, and then I wandered quietly into a little room devoted mostly to his drawings. When I saw one particular small landscape drawing . . . I couldn't believe how much presence it had, how much visual life such a small piece of paper, with a few simple pencil lines drawn upon it, could have! Its image opened in me an entire vast imaginal landscape. The drawing's simplicity, its directness, the consciousness I experienced in the white spaces! touched me very deeply and refreshed me. It was a surprisingly intimate experience, and it was made all the more palpably close by the strong sense of Morandi's presence in the drawing's line quality. At the same time there was a feeling of immensity in the white space manifested by the lines. It's amazing how much vastness we have inside us, and how this vastness can be unveiled just by looking closely and deeply into a small image . . . an image that is functioning as a symbol.
I strive to achieve the same kind of intimacy in my square Morandi inspired photographs. My recent series entitled Miniature Landscapes (see fig #15 above, and the entire series below) was inspired by Morandi's drawings.
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Fig.#16 Morandi inspired Landscape photograph, Chapter 9
Fig. 17 Morandi 1944 oil Grizanna
The Departing Landscape
Morandi painted the image above in 1944, in Grizzana, while he was forced to take refuge there during the war. (Fig. 17) He would usually spend only summer holidays in Grizzana, but because of the war he had to stay there for eleven consecutive, anxious months. In that time he made very few paintings: his yearly production dropped from about seventy paintings to only ten between 1943 and 1944. He complained in letters to friends that he could not paint outside because it was too noisy and too dangerous. When Morandi was finally able to return to Bologna, he would not visit Grizanna again for fifteen years because of his wartime trauma.
The desolate image above was painted in late March, 1944 as the dirty snows of war were melting into the Grizanna soil. It clearly expresses his dark feelings about the war and his own situation at that time. In the DVD Morandi's Dust there is a stunning close up pan of this painting which allows us to see a deep red color Morandi had mixed into the darker muddy browns. It's as if he had seen the earth bleeding internally from wounds inflicted upon it during the war.
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The earth is bleeding today. Its suffering the wounds inflicted upon it by human greed, ambition and ignorance; by an arrogant sense of power and entitlement; by human gluttony and consumerism. The gas and oil industries, the nuclear, coal and farming industries, our politicians and corporations, and all of us -as consumers- have for the past two hundred years been sucking the life out of the natural world. We are polluting our air, our water and our lands with horrible toxins to such a horrifying extent that we now find ourselves entering what could be called a self-created dark night of the soul. The Natural World . . . our greater body, an integral part of our very being, is on the threshold of extinction. We are living in a departing landscape.
We have at least come to acknowledge that a crisis exists. We have named it, though reluctantly by some: Climate Change, Climate Disruption, or Global Warming. click here for more information
This crisis in the natural world is nothing but a reflection of our own internal crisis: we have forgotten our sacred duty to respect, care for and protect this beautiful planet, the very origin of our existence, and which we depend upon for our existence. We have broken our original bond with the Natural World and distanced ourselves from it. As a consequence the earth is leaving us, and it is leaving us in a fury.
Fig.#17 Morandi inspired Landscape photograph, Chapter 9
In 2012 I completed a collection of photography projects that together address my grieving and longing and love for the Natural World, and my fears for what our desecration of the earth may mean for our children and grandchildren. The project is entitled The Departing Landscape. I have included below some revised images from one thematic part of the Departing Landscape Project entitled Faint Photographs. The overall light tones of the images are a metaphor for the way silver gelatin photographs will fade into complete whiteness when they are allowed to be over exposed to the direct light of the sun. The images are also a metaphor for the dissolution of the ozone layer of our atmosphere, which protects us from the burning rays of the sun. The ozone layer is fading because of all the methane and carbon dioxide we are putting into our air from the production and use of fossil fuels. As the ozone layer fades, the earth will fade because the heat of the sun is warming the temperatures of our earth and our waters. We are seeing the impacts of climate change already in the melting of the ice caps and glaciers, the rising of water levels, the growing acidity of the ocean's waters, the increasing number and intensity of extreme weather events, the loss of wildlife species . . . and on and on and on.
There are some people who are hoping that perhaps it's not too late to change the tragic direction in which we are clearly headed. I don't believe in evil forces as such; we are the creators of this crisis, so perhaps we can change ourselves and transition to a more sustainable way of living on our planet. Maybe we can at least slow down this unthinkable inevitable disaster if we begin now to act, in a globally united way, with renewed respect and responsibility toward our planet.
In regard to all this, there is something we can learn from Morandi's art.
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Prelude
to the photographs
Fig.#18 Chapter 9, from the SW Meadow series
“Astonishing! Everything is intelligent!”
Pythagoras
Free thinker! Do you think you are the only thinker
on this earth in which life blazes inside all things?
Your liberty does what it wishes with the powers it controls,
but when you gather to plan, the universe is not there.
Look carefully in an animal at a spirit alive;
every flower is a soul opening out into nature;
a mystery touching love is asleep inside metal.
“Everything is intelligent!” And everything moves you.
In that blind wall, look out for the eyes that pierce you:
the substance of creation cannot be separated from a word...
Do not force it to labor in some low phrase!
Often a Holy Thing is living hidden in a dark creature;
and like an eye which is born covered by its lids,
a pure spirit is growing strong under the bark of stones!
Gerald De Nerval / 1854
trans: Robert Bly
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The Morandi inspired
Landscape Photographs
". . . look out for the eyes that pierce you . . ."
Morandi's landscape paintings recognize and celebrate the living consciousness in the Natural World; they touch and unveil the essential spirit of the land, that Holy Thing which exists also in the purity of our own hearts. Morandi's art can awaken us to our Human Nature: that is to say, our unity of being, our primal connection with the Natural World. To become fully alive each one of us must find our own way to co-create the world; right now we are heartlessly destroying it.
Morandi's entire life was devoted to his creative process. I believe the creation of powerful works of art, full of life's mysterious presence, has a healing effect upon each one of us and the planet. His creativity has been an inspiration to me to sustain and strengthen my connection to the creative process by making photographic works as best I can, for my own healing and for the earth and all its inhabitants. I dedicate this project with great love, respect and gratitude to Giorgio Morandi, his wonderful landscape paintings, and to the Natural World. Welcome to the Morandi inspired landscape photographs.
Morandi inspired Landscape photograph, Chapter 9, Image# 1
Morandi inspired Landscape photograph, Chapter 9, Image# 2
Morandi inspired Landscape photograph, Chapter 9, Image# 3
Morandi inspired Landscape photograph, Chapter 9, Image# 4
Morandi inspired Landscape photograph, Chapter 9, Image# 5
Morandi inspired Landscape photograph, Chapter 9, Image# 6
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from
The Meadow Series
Morandi inspired Landscape photograph, Chapter 9, Image# 7 NW Meadow series
Morandi inspired Landscape photograph, Chapter 9, Image# 8 NW Meadow series
Morandi inspired Landscape photograph, Chapter 9, Image# 9 NW Meadow series
Morandi inspired Landscape photograph, Chapter 9, Image# 10 NW Meadow series
Morandi inspired Landscape photograph, Chapter 9, Image# 11 NW Meadow series
Morandi inspired Landscape photograph, Chapter 9, Image# 12 NW Meadow series
Morandi inspired Landscape photograph, Chapter 9, Image# 13 SW Meadow series
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from the series
Windswept Landscapes
Morandi inspired Landscape photograph, Chapter 9, Image# 14 Windswept Series
Morandi inspired Landscape photograph, Chapter 9, Image# 15 Windswept Series
Morandi inspired Landscape photograph, Chapter 9, Image# 16 Windswept Series
Morandi inspired Landscape photograph, Chapter 9, Image# 17 Windswept Series
Morandi inspired Landscape photograph, Chapter 9, Image# 18 Windswept Series
Morandi inspired Landscape photograph, Chapter 9, Image# 19 Windswept Series
Morandi inspired Landscape photograph, Chapter 9, Image# 20 Windswept Series
Morandi inspired Landscape photograph, Chapter 9, Image# 21 Windswept Series
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Photographs from my
Picture Window
Morandi inspired Landscape photograph, Chapter 9, Image# 22 Picture window series
Morandi inspired Landscape photograph, Chapter 9, Image# 22A Picture window series
Morandi inspired Landscape photograph, Chapter 9, Image# 23 Picture window series
Morandi inspired Landscape photograph, Chapter 9, Image# 24 Picture window series
Morandi inspired Landscape photograph, Chapter 9, Image# 25 Picture window series
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from the series
Miniature Landscapes
Morandi inspired Landscape photograph, Chapter 9, Image# 26 Miniature Landscape Series
Morandi inspired Landscape photograph, Chapter 9, Image# 27 Miniature Landscape Series
Morandi inspired Landscape photograph, Chapter 9, Image# 28 Miniature Landscape Series
Morandi inspired Landscape photograph, Chapter 9, Image# 29 Miniature Landscape Series
Morandi inspired Landscape photograph, Chapter 9, Image# 30 Miniature Landscape Series
Morandi inspired Landscape photograph, Chapter 9, Image# 31 Miniature Landscape Series
Morandi inspired Landscape photograph, Chapter 9, Image# 32 Miniature Landscape Series
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Faint Photographs
from
The Departing Landscape project
Morandi inspired Landscape photograph, Chapter 9, Image# 33
Faint Photograph, The Departing Landscape Series, Cloud Forest
Morandi inspired Landscape photograph, Chapter 9, Image# 34
Faint Photograph, The Departing Landscape Series, Burnt Mountain, two figures in smoke
Morandi inspired Landscape photograph, Chapter 9, Image# 35
Faint Photograph, The Departing Landscape Series, Waterfall
Morandi inspired Landscape photograph, Chapter 9, Image# 36
Faint Photograph, The Departing Landscape Series, Hudson River Valley
Morandi inspired Landscape photograph, Chapter 9, Image# 37
Faint Photograph, The Departing Landscape Series, Goldfish in pond
Morandi inspired Landscape photograph, Chapter 9, Image# 38
Faint Photograph, The Departing Landscape Series, arial view - clouds, sky and sea
Morandi inspired Landscape photograph, Chapter 9, Image# 39
Faint Photograph, The Departing Landscape Series, One figure walking, Death Valley
Morandi inspired Landscape photograph, Chapter 9, Image# 40
Faint Photograph, The Departing Landscape Series, Pompeii ruins
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Postlude
Morandi inspired Landscape photograph, Chapter 9, Image# 41
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This project was announced on the Welcome Page of my website March 15, 20014
Still Life ~ Photographs Inspired by Giorgio Morandi
Welcome Page to The Departing Landscape website which includes the complete hyperlinked listing of my online photography projects dating back to the 1960's, my resume, contact information, and more.
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