Of the many factors that gave rise to secular subjects in art, such as landscape, seascape, still life, and genre painting, the most fundamental was the urbanization of European society during the 1500s and 1600s. The latter were more costly to produce (in time and materials), more expensive to purchase, and, as works displayed prominently in homes, represented a greater shift in taste than works on paper (which were stored and viewed only occasionally). In general, the most experimental ideas, which in the decades about 1600 included the most direct responses to actual topography and motifs, happened first in drawing, then in prints, and rather more slowly in paintings. 1524) ( 36.14a–c), influenced printmakers such as Hans Bol (1534–1593) who spread ideas for landscape subjects and compositions through woodcuts, engravings, and etchings. 1525–1569), such as The Harvesters ( 19.164), as well as the imaginary panoramas of Joachim Patinir (d. The pioneering landscape paintings of Pieter Bruegel the Elder (ca. ![]() In Flanders (the dominant province of the Spanish Netherlands), particularly in the great port city of Antwerp, landscape became a popular subject for painters and especially draftsmen and printmakers from the mid-1500s onward. During the 1600s, landscape painting flourished as an independent genre in the Dutch Republic (United Provinces of the Netherlands) and in the Spanish Netherlands (now Belgium).
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