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Scenes of courtyards and gardens have been a recurring theme throughout much of the history of art. Already during the Roman and medieval times, garden themes were captured in mosaics and tables, but mostly as backgrounds for a main subject, be it religious or profane.
This theme will acquire true importance in the late nineteenth and early twentieth centuries through the symbolist trend, where artists used courtyards and gardens to make the invisible visible: in other words, to convey spiritual ideas through material objects and scenes. Rusiñol, Redon and Moreau are the main exponents of this pictorial trend, devoting their paintings to capture quiet autumn gardens and parks, sometimes imbued with a depressing atmosphere.
During the last stage of his career, Sorolla was devoted to painting Andalusian patios and gardens: fascinated by their light and color, he would use his brushes to translate them into his paintings, as other impressionists and post-impressionists did, such as Van Gogh, Degas , Manet, Monet, Pissarro and Renoir.
Later, expressionist artists like Edvard Munch and Nolde made small forays into the garden theme, with their 'Geese in the Garden' (1911) and 'Glowing Sunflowers' (1936), but it should be noted that the current artists that depict patios and gardens drink from Impressionist sources, as we can see in the works by Teresa Martinez and Jose Ortega, who are two clear examples regarding this pictorial theme.