Claude Lorrain in the context of "French landscape garden"

Mercantilism is a form of economic system and nationalist economic policy that is designed to maximize the exports and minimize the imports of an economy. It seeks to maximize the accumulation of resources within the country and use those resources for one-sided trade.

The concept aims to reduce a possible current account deficit or reach a current account surplus, and it includes measures aimed at accumulating monetary reserves by a positive balance of trade, especially of finished goods. Historically, such policies may have contributed to war and motivated colonial expansion. Mercantilist theory varies in sophistication from one writer to another and has evolved over time.

The English landscape garden, also called English landscape park or simply the English garden (French: Jardin à l'anglaise, Italian: Giardino all'inglese, German: Englischer Landschaftsgarten, Portuguese: Jardim inglês, Spanish: Jardín inglés), is a style of "landscape" garden which emerged in England in the early 18th century, and spread across Europe, replacing the more formal, symmetrical French formal garden which had emerged in the 17th century as the principal gardening style of Europe. The English garden presented an idealized view of nature. Created and pioneered by William Kent and others, the "informal" garden style originated as a revolt against the architectural garden and drew inspiration from landscape paintings by Salvator Rosa, Claude Lorrain, and Nicolas Poussin, as well as from the classic Chinese gardens of the East, which had recently been described by European travellers and were realized in the Anglo-Chinese garden.

The English garden usually included a lake, sweeps of gently rolling lawns set against groves of trees, and recreations of classical temples, Gothic ruins, bridges, and other picturesque architecture, designed to recreate an idyllic pastoral landscape. The work of Lancelot "Capability" Brown was particularly influential. By the end of the 18th century the English garden was being imitated by the French landscape garden, and as far away as St. Petersburg, Russia, in Pavlovsk, the gardens of the future Emperor Paul. It also had a major influence on the forms of public parks and gardens which appeared around the world in the 19th century. The English landscape garden was usually centred on the English country house, and many examples in the United Kingdom are popular visitor attractions today.

Dido building Carthage, or The Rise of the Carthaginian Empire is an oil on canvas painting by J. M. W. Turner. The painting is one of Turner's most important works, greatly influenced by the luminous classical landscapes of Claude Lorrain. Turner described it as his chef d'oeuvre. First exhibited at the Royal Academy Exhibition of 1815, Turner kept the painting until he left it to the nation in the Turner Bequest. It has been held by the National Gallery in London since 1856.

The subject is a classical landscape taken from Virgil's Aeneid. The figure in blue and white on the left is Dido, directing the builders of the new city of Carthage. The figure in front of her, wearing armour and facing away from the viewer, may be her Trojan lover Aeneas. Some children are playing with a flimsy toy boat in the water, symbolising the growing but fragile naval power of Carthage, while the tomb of her dead husband Sychaeus, on the right side of the painting, on the other bank of the estuary, foreshadows the eventual doom of Carthage.

Salvator Rosa (1615 – 15 March 1673) is best known today as an Italian Baroque painter, whose romanticised landscapes and history paintings, often set in dark and untamed nature, exerted considerable influence from the 17th century into the early 19th century. In his lifetime, he was among the most famous painters, known for his flamboyant personality, and regarded as an accomplished poet, satirist, actor, musician and printmaker. He was active in Naples, Rome, and Florence, where on occasion he was compelled to move between cities, as his caustic satire earned him enemies in the artistic and intellectual circles of the day.

As a history painter, he often selected obscure and esoteric subjects from the Bible, mythology, and the lives of philosophers, which were seldom addressed by other artists. He rarely painted the common religious subjects, unless they allowed a treatment dominated by the landscape element. He also produced battle scenes, allegories, scenes of witchcraft, and many self-portraits. However, he is most highly regarded for his very original landscapes, depicting "sublime" nature: often wild and hostile, at times rendering the people that populated them as marginal in the greater realm of nature. They were prototypes of the romantic landscape and the very antithesis of the "picturesque" classical views of Claude Lorrain. Some critics have noted that his technical skills and craftsmanship as a painter were not always equal to his truly innovative and original visions. This is in part due to a large number of canvases he hastily produced in his youth (1630s) in pursuit of financial gain, paintings that Rosa himself came to loathe and distance himself from in his later years, as well as posthumously misattributed paintings. Many of his peopled landscapes ended up abroad by the 18th century, and he was better known in England and France than most Italian Baroque painters.

In painting, staffage (French pronunciation: [stafaʒ]) are the human and animal figures depicted in a scene, especially a landscape, that are not the primary subject matter of the work. Typically they are small, and there to add an indication of scale and add interest.

Before the adoption of the word into the visual arts in the late eighteenth and early nineteenth centuries, Staffage in German could mean "accessories" or "decoration". The word can be used in two senses: as a general term for any figures in a work, even when they are, at least ostensibly, the main subject, and as a descriptive term for figures to whom no specific identity or story is attached, included merely for compositional or decorative reasons. In the latter sense, staffage are accessories to the scene, yet add life to the work; they provide depth to the painting and reinforce the main subject, as well as giving a clear scale to the rest of the composition.

Picturesque is an aesthetic ideal introduced into English cultural debate in 1782 by William Gilpin in Observations on the River Wye, and Several Parts of South Wales, etc. Relative Chiefly to Picturesque Beauty; made in the Summer of the Year 1770, a practical book which instructed England's leisured travellers to examine "the face of a country by the rules of picturesque beauty". Picturesque, along with the aesthetic and cultural strands of Gothic and Celticism, was a part of the emerging Romantic sensibility of the 18th century.

The term "picturesque" needs to be understood in relationship to two other aesthetic ideals: the beautiful and the sublime. By the last third of the 18th century, Enlightenment and rationalist ideas about aesthetics were being challenged by accounts of the experiences of beauty and sublimity that involved non-rational elements. Aesthetic experience was not just a simply deliberate, conscious rational decision based on principles of, e.g., symmetry, proportion, and harmony. It could come, for instance, more naturally as a matter of instinctual response involving the non-rational appetites. For instance, Edmund Burke in his 1757 A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful argued that the soft gentle curves appealed to the male sexual desire, while the sublime horrors appealed to our desires for self-preservation.