在这些画中，对象的位置时常不同。树、岩石和动物都被精心放置在适当的位置，以保证最后的平衡情绪。正是在文艺复兴时期，这些山水画获得了重要的意义，对人们吸引他人去欣赏意大利文化显得尤为重要。虽然这种情况发生在16世纪晚期，但随着风景艺术家的流行和大旅游的普及，这种情况一直延续到17、18世纪。当时，意大利被认为是风景画家的故乡。尼古拉斯·普桑(Nicolas Poussin)和克劳德·洛兰(Claude Lorrain)就是这样两位杰出的艺术家，他们以不断地通过绘画为理性清晰奠定基础而闻名(Whyte, 2002)。作品中明暗的运用各不相同，这些不同之处主要是为了带来真实，表现出良好的平衡感，同时也增强了意大利山水画家的素质。随着时间的推移，景观艺术的焦点在题材和性质上发生了变化。不同形式的山水画出现了，没有山水画消失的例子。
然后，除了历史、文化和社会时刻之外，它还被用作一种展示哲学思想的模式(Hill and Minghelli, 2014)。当风景艺术作品被转化为摄影时，摄影实践也随之发展起来，而这恰好是一种比艺术作品更容易捕捉照片的方式。在意大利语境中，中庸是一种新的制度，具有良好的文化和制度维度。此外，摄影被认为是次要的比山水画和艺术评论家坚持认为，激进的思想和知识实践只能通过绘画比摄影的手段来揭露。新物品被用来创作这些艺术品。除了表现历史事件和文化实践，它还被用来探索空间研究、文化变迁、电影、文学、美学、地理和音乐。人们对中心问题的承诺仍然是令人关注的领域(Hill and Minghelli, 2014)。因此，使用新的属性来描述相同的内容。主题的改变，使山水画可以作为一个完美的推动者，以获得关注的目标观众。
The positioning of the objects differed from time to time in these paintings. Tree, rock and animals were well placed with extreme care to deliver a balanced mood in the end. It was the period of Renaissance when these landscape paintings gained significance and appeared to be extremely crucial for people to attract others towards Italian cultures. While this happened in the late 16th century, it extended to 17th and 18th centuries when landscape artists became popular and popularity of Grand Tour increased. Italy was then considered as the land known and meant for landscape artists. Nicolas Poussin and Claude Lorrain were two such eminent artists known for their continuous works to develop the base for rational clarity through paintings (Whyte, 2002). The usage of light and dark differed among the paintings and these differences were mainly to bring the reality and express the style with good balance and also to empower the quality of Italian landscape artists.Over the period, the focus of landscape art changed in terms of the subject and properties. Different forms of landscape paintings came into existence and there were no instances when landscape paintings diminished.
It was then used as a mode to demonstrate philosophical thoughts in addition to historical, cultural and social moments (Hill and Minghelli, 2014). Photographic practice evolved when landscape art works were converted to photography and this happened to be an easier way to capture pictures than the art works. In the Italian context, medianity was a new system that has gained a good cultural as well as institutional dimension. Additionally, photography was considered secondary than the landscape painting and art critics insisted that radical thoughts and intellectual practices can be exposed only by means of painting than photography. New objects were used to create these art works. Apart from the representation of historic events and cultural practices, it is used to explore spatial studies, cultural changes, cinema, literature, aesthetics, geography and music. The commitment of people to the central issues remained as the area of concern (Hill and Minghelli, 2014). As a result, new properties were used to depict the same. The subjects changed so that landscape paintings could be used as the perfect facilitators to gain attention from the intended audience.