Who painted Album of Seasonal Landscapes, Leaf D (previous leaf 2)?

Album of Seasonal Landscapes, Leaf D (previous leaf 2) was painted by Xiao Yuncong in 1668-01-01.

Where can I see Album of Seasonal Landscapes, Leaf D (previous leaf 2)?

Album of Seasonal Landscapes, Leaf D (previous leaf 2) is held by Cleveland Museum of Art.

What movement is Album of Seasonal Landscapes, Leaf D (previous leaf 2)?

Album of Seasonal Landscapes, Leaf D (previous leaf 2) is associated with Ming dynasty painting.

Can I buy a print of Album of Seasonal Landscapes, Leaf D (previous leaf 2)?

Museum-quality prints of Album of Seasonal Landscapes, Leaf D (previous leaf 2) are available made-to-order from Artifact World Gallery.

Artwork

Album of Seasonal Landscapes, Leaf D (previous leaf 2)

Xiao Yuncong , 1668

Album of Seasonal Landscapes, Leaf D (previous leaf 2) is an unspecified painting by the Ming dynasty painting artist Xiao Yuncong. It dates from 1668 and is held in the collection of the Cleveland Museum of Art. This painting, titled "Album of Seasonal Landscapes, Leaf D," depicts a tranquil natural environment.

About this work

Subject & Meaning

The visual subject matter explicitly depicts mountains, trees, and a house, integrating human habitation within a rugged terrain.

Created in 1668 by Xiao Yuncong, this landscape painting presents a composition centered on natural and architectural elements. The visual subject matter explicitly depicts mountains, trees, and a house, integrating human habitation within a rugged terrain. As part of a larger album dedicated to seasonal landscapes, the work functions as a representation of a specific time of year through these environmental markers.

The inclusion of a dwelling amidst the peaks and foliage suggests a thematic focus on the relationship between humanity and the natural world, a common motif in Chinese landscape traditions. The imagery serves to illustrate the changing seasons, using the interplay of geological forms, vegetation, and built structures to convey the passage of time and the atmosphere of the depicted season.

History & Provenance

The work titled Album of Seasonal Landscapes, Leaf D (previous leaf 2) was created in 1668 by the Chinese painter Xiao Yuncong while working in China. It is classified as a painting within the landscape genre. According to the Cleveland Museum of Art’s records, the piece entered the museum’s collection and has been held there since at least 1955, as documented in its acquisition data.

No documentation of a specific commission or prior private ownership is provided in the available sources, leaving the early ownership chain unspecified. The dating and creation context are derived from contemporary accounts placing the work in the late 17th‑century Chinese artistic tradition.

The Album of Seasonal Landscapes, Leaf D (previous leaf 2), is held in the collection of the Cleveland Museum of Art in Cleveland. The work is assigned the accession number 1955.302.2. Created by the Chinese artist Xiao Yuncong in 1668, this landscape painting depicts mountains, trees, and a house.

While the source material confirms the current institutional location and specific inventory identifier, it does not provide details regarding a history of public exhibitions or prior ownership records for this specific leaf.

Overview

This painting, titled "Album of Seasonal Landscapes, Leaf D," depicts a tranquil natural environment. It features a modest house situated among a cluster of trees, set against a backdrop of mountains. The artist employs a restrained palette of muted tones, which contributes to an overall atmosphere of peace.

Delicate gradations in color and light suggest depth and texture throughout the composition, inviting contemplation of the depicted idyllic scene.

Technique & Style

The artist's approach to this landscape emphasizes a subdued color scheme, utilizing muted tones to establish a tranquil mood. Through delicate variations in shading, the painting achieves a notable sense of three-dimensionality and tactile quality. Gentle brushstrokes are evident in the rendering of the distant mountains, softening their contours and integrating them seamlessly into the overall peaceful aesthetic of the work.