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The endless vistas of Joachim Patinir How the Flemish painter was the first to make landscape the real subject of his art. In 1521, Albrecht Dürer climbed to the top of St Bavo’s cathedral in the Flemish city of Ghent. From 90 metres up in the sky, the travelling artist looked down at a world stretching into infinity. The view, however, offered something else too, a look inside the mind of a new friend, Joachim Patinir. It was Patinir (circa 1480/85 – 1524) who could claim to be the first painter to make landscape the real subject of his art. Although all his surviving paintings have a biblical or classical theme, what they really treat is the great sweep of nature. Using a then novel horizontal format and adopting a raised foreground – which Dürer emulated from the top of the belfry – they show endless vistas in which man, however holy, is just another detail in God’s wide creation. They depict setting more than subject.

Bruxelles capitaleWaals gewestHieronymus boschJohanna noytsGerard davidJoachim patinirLow countriesFlemish vasariHoly landBayard rockPieter bruegelNew statesman magazineInternational politicsBritish politicsTony blairGordon brown