10 Best Places To Take A Travel Picture
In this post, i’ll share 10 most beautiful place you should take your picture in. ok here we go:
1. Venice, Italy. Postcards for posh people – that was Canaletto’s forte. When rich, 18yh century Englishmen thronged to Venice on their Grand Tours, many wanted reminders of its heady pleasures. Local boy Canaletto was a dab hand at vedute (detailed landscape) and pleased paying patrons with canvases of the Doges Palace, St Mark’s Square, and the Grand Canal busy with garlanded gondolas. Though a few palazzi may have crumbled since, the scenes remain remarkably unchanged; a punt along a Venetian waterway today is to see the city of the past (just ignore the modern tourists)
2. Willy Lott’s Cottage, Suffolk, England. It’s classic summertime England – a comely white cottage on the banks of a rippling river; golden meadows where haymakers toil; and billowing clouds, both white and grey gloomy, suggestive of an impending shower. When John Constable completed The Hay Wain in 1821, it was not well received by the critics. But today it represents the romantic rural English idyll, now sadly long gone.. Or gone-ish anyway. You can actually still survey this quiet scene. The banks are overgrown and the water level higher (Suffolk is slowly sinking), but Willy Lott’s house – named after its one time tenant = still stands, and unlikely Arcadian icon to a gentler age.
3. Giverny, France. Life imitating art, or art come to life? Impressionist Claude Monet was as passionate about his garden as he was about painting it. He lived in a pretty pink stucco house in Giverny, 80 km west of Paris, from 1883 to 1926, and in its grounds created his own inspirational subject matter: paths lined with rose bushes, avenues of cherry and apple trees, pons draped with wisteria and those now famous waterlilies. Open to the public since 1980, you can nose around the house and gardens, crossing his Japanese bridge and ducking beneath his weeping willows – literally a walk through Monet’s masterpieces.
4. Marquesas Islands, French Polynesia. For Paul Gauguin, the coral ringed specks of the South Pacific were an escape from the artifice of turn of the century France. Here I enter Truth, become one with nature,’ he wrote. And what nature it is. The artist’s Marquesas Islands are a land of fecund tropicality, of luminous colour, of beautiful, black haired girls with flowers in their hair. Hiva Oa, a ludicrously lush isle of mountain peaks, gushing rivers and turquoise seas where Gauguin lived his last days, is no disappointment. To feel inspired by the great man’s muse, visit the Maison du Jouir in Atuona, a replica of Gauguin’s House of Pleasure, now home to works by local artists.
5. Skagen, Denmark. Teetering on a sandy spit at the northernmost tip of Denmark, Skagen is the country’s sunniest spot – and it’s the quality of this abundant light that enticed artists to gather here. ‘Are you a painter?’ wrote Hans Christian Anderson after visiting in 1859. ‘Then follow us up here’ in the 1880s Peder Severin Kroyer did just that; his most famous work – Summer Evening on Skagen’s Southern Beach – shows two ladies strolling away along the shore, their long dresses touched by a dusky glow. A century on, this quiet town’s sands and skies have lost none of their magic.
6. Guernica, Spain. Thankfully the small town of Guernica looks nothing like Pablo Picasso’s surrealist painting – that would be a frightening town indeed. But then, for three brief hours in April 1937, this Basque stronghold was a hellishly frightening place: 59 German and Italian planes bombed and strafed the place on its bustling market day; around 1650 lives were lost. Picasso conveyed this chaotic scene of distressed animals, screaming faces and prone bodies in his masterpiece, shich resides in Madrid’s Reina Sofia Museum. In Guernica itself, now a thriving city, a ceramic tile version of Picasso’s work lines Calle Allende Salazar, lest people forget past horros.
7. Mt. Fuji, Japan. It’s easy to put yourself in the picture when it’s a meisho-e (a scene of a famous place), although Katsushika Hokusai increased the challenge with the quantity and geographical spread of his work. The woodblock artist’s Thirty six Views of Mount Fuji (though they actually number 46) is 19th century series depicting the conical volcano as seen from various angles: reflected in Lake Kawaguchi, under Fukagawa’s Mannen Bridge, from a teahouse at Koishikawa, and – most famously – enveloped by a monstrous wave off Kanagawa. It seems wherever you view Fuji from, the chances are Hokusai had it covered.
8. Tlatelolco, Mexico City, Mexico. When it comes to painter Diego Rivera, it’s impossible to separate the man, his masterpieces and his manor. Rivera’s work is Mexican to the core: it depicts his homeland’s historical battles, the oppression of its native cultures and its post revolutionary struggles, often in gargantuan, propagandist proportions. His murals of Tlatelolco – an ancient city in a lake, predating the Aztecs and once site of a market where 60000 people at a time came to trade – provide a tantalising take on a site now in ruin. View the murals in the National Palace, then wander Tlatelolco’s temple foundations and tzompantli (wall of skulls) and try to imagine what might have been.
9. Arles, France. Despite arriving on a bitter day in February 1888, Vincent Van Gogh found much inspiration in the Provencal town of Arles. He painted its Langlois Bridge, the surrounding wheat fields, its parks and its old ladies and one eyed men – all with his signature swirling strokes and intense tones. But Cafe Terrace at Night is the painting you’ll most want to step in to, with its bright, inviting veranda, a waiter serving tables, light dappling the cobbled street and an indigo sky a sparkle with stars. The establishment is still there on Place du Forum, now called Cafe Van Gogh, so sit and raise a vino to Vincent.
10. Eldon, Iowa, USA. It was 1930 and the USA was staring down the Great Depression when artist Grant Wood was inspired to paint American Gothic as he drove around Eldon, Iowa. Two figures embody the persevering stoicism of rural middle America – inched faced, pitchfork wielding farmer and his prim looking spinster daughter, They stand (looking suitably depressed) before a white clapboard house with an unusual Gothic window. The window so struck Wood that he was forced to stop and sketch it on the back of an envelope. The house is now a listed building, and visitors can borrow overalls and farms tools to recreate their own all American moment outside