<abstract xmlns="http://www.w3.org/1999/xhtml"> The sprouting capacity of some broadleaves has been used for their regeneration since ancient times. Often concurrently with taking advantage of sprouting stools, the trees used to be shaped also by pruning their stems, namely on pasturelands and in grazing forests. The activity of woodcutters and shepherds was obviously rather common in warmer climates with broadleaved stands because coppice and pollard trees appear relatively often in the visual arts from ancient works through the period if the Italian and German Renaissance up to the romantic and realistic landscape painting of the 19th century overlapping into the 20th century. For centuries, most frequently illustrated in European and Czech paintings have been pollard willows (Salix spp.). Other coppice and pollard tree species identified in paintings are oaks (Quercus spp.), hornbeam (Carpinus betulus), European beech (Fagus sylvatica), European chestnut (Castanea sativa), and rarely other species, too. Artists apparently often used bizarrely shaped woods to increase the dramatic atmosphere of their landscape sceneries as well as figural compositions, and the coppice and pollard trees had certainly also a symbolic meaning in some of their works.</abstract>

The sprouting capacity of some broadleaves has been used for their regeneration since ancient times. Often concurrently with taking advantage of sprouting stools, the trees used to be shaped also by pruning their stems, namely on pasturelands and in grazing forests. The activity of woodcutters and shepherds was obviously rather common in warmer climates with broadleaved stands because coppice and pollard trees appear relatively often in the visual arts from ancient works through the period if the Italian and German Renaissance up to the romantic and realistic landscape painting of the 19th century overlapping into the 20th century. For centuries, most frequently illustrated in European and Czech paintings have been pollard willows (Salix spp.). Other coppice and pollard tree species identified in paintings are oaks (Quercus spp.), hornbeam (Carpinus betulus), European beech (Fagus sylvatica), European chestnut (Castanea sativa), and rarely other species, too. Artists apparently often used bizarrely shaped woods to increase the dramatic atmosphere of their landscape sceneries as well as figural compositions, and the coppice and pollard trees had certainly also a symbolic meaning in some of their works.

Coppice Woods and Pollard Trees in the Visual Arts

Department of Forest Botany, Dendrology and Geobiocoenology, MENDELU Brno, Czech Republic

Journal of Landscape Ecology

This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 License.

{"article-title":"Coppice Woods and Pollard Trees in the Visual Arts"}

The sprouting capacity of some broadleaves has been used for their regeneration since ancient times. Often concurrently with taking advantage of sprouting...

Coppice Woods and Pollard Trees in the Visual Arts

Data publikacji: 26 lip 2016

Zakres stron: 97 - 108

Otrzymano: 14 maj 2016

Przyjęty: 27 maj 2016

DOI: https://doi.org/10.1515/jlecol-2016-0010

Słowa kluczowe
coppice trees, pollard trees, visual arts

© 2016

This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 License.

Coppice Woods and Pollard Trees in the Visual Arts

Data publikacji: 26 lip 2016

Zakres stron: 97 - 108

Otrzymano: 14 maj 2016

Przyjęty: 27 maj 2016

DOI: https://doi.org/10.1515/jlecol-2016-0010

Słowa kluczowecoppice trees, pollard trees, visual arts

© 2016

This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 License.

Słowa kluczowe
coppice trees, pollard trees, visual arts