https://doi.org/10.21697/zk.2025.12.11
Europe in the 17th and 18th centuries was beset by a passion for gardens and parks, which painters reproduced to fill their canvases with abandon. John Constable’s Wivenhoe Park (1816) is one of the finest examples of this artistic practice. This article argues that Kubrick was consciously recreating a similar perceptual context when filming the Lyndon estate, Castle Hackton (Castle Howard). In photographic terms, Kubrick began his work where Constable left off. Moreover, the painterly scheme of images relating to Wivenhoe Park became for him at the same time an incentive for further visual experimentation, which led him to the concept of an orchestrated cinematic landscape. Further, a discussion of three representative examples of such a landscape is introduced – each relating to a different aspect of the plot and based on the rules of 18th century classicism. The application of these rules, however, was by no means exclusive to Barry Lyndon, but also manifest in Kubrick’s other films.
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English