The classical landscape is further characterized by what Norberg-Schulz calls "a human fellowship" with the surroundings. The individual is not absorbed by an abstract system (as in the cosmic landscape) nor is he induced to find his private hiding place (as in the romantic landscape). Thus a true "gathering" becomes possible which fulfills the most basic aspect of dwelling (dwelling in Heidegger's sense).

   Within the classical landscape man places himself in front of nature as an equal partner, looking at nature as a friendly complement of his own being. Quoting from Norberg-Schulz (op.cit, pp47):

 "The union of man and nature is rather expressed through the practical use of agriculture, which accentuates the landscape structure as an 'addition' of relatively independent, individual places. The genius loci of the classical landscape is therefore first of all manifest where clearly defined natural places are emphasized by the loving care of man."

  A certain "reconciliation" of man with nature "is manifest as a harmonious equilibrium of earth and sky. Plastically present, the earth rises up without drama and blossoms in trees which have their individual plastic value."

    In the realm of painting, it was Cezanne in my opinion, who excelled  in emphasizing this quality of the earth being 'plastically present' , with forms "standing out in light".  This particularly so in his long artistic struggle with the landscapes centered around  Mont Sainte-Victoire. Consider for example the following image,  as an instance of the various characteristics mentioned so far for the classical landscape :

        

              Monte Sainte-Victoire

                                     by Paul Cezanne (1885-95)

  The Barnes Foundation, Lincoln University, Philadelphia

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   Note: If the above image is not visible click   HERE  and scroll down to Classical Landscape II

     To be continued.....