In the context of environmental aesthetics, landscape can now be perceived as a multi-layered cultural construct, a space for experience, interpretation and transformation. Landscape is not only a physical space, scenery or backdrop for human existence, but also a mirror of values, relationships and ways in which people perceive their place in the world. Even whether we perceive the landscape as beautiful or natural is conditioned by social norms, education and personal experience. Aesthetician and environmentalist Karel Stibral emphasises that “the aesthetic experience of nature is not merely a supplement to knowledge, but brings a dimension of meaning and deep emotional engagement to the relationship between humans and nature.”^[1] Hana Librová also draws attention to the issue of responsibility towards the landscape. It is not only about protecting natural values, but also about caring for the landscape as a space of meaning, home and continuity. However, this motivation often conflicts with a modern lifestyle focused on performance, consumption and mobility. In times of climate crisis and urbanisation, the painted landscape becomes a place of slowing down, renewal and confrontation with the changing relationship between humans and nature. Many contemporary authors build on the legacy of Romanticism or lyrical realism, but reinterpret it with an awareness of ecological uncertainties and cultural criticism. There is a noticeable shift from mimetic representation to an exploration of the phenomenon of landscape itself as a cultural and environmental construct. Landscape becomes a space for experimentation – a combination of gestural painting, conceptual approaches and performativity. From the perspective of fine art, landscape is not just a visual motif but a symbol. It can express belonging, loss, criticism and hope. The dialogue with landscape reflects not only aesthetic or emotional experience, but the entire value framework of society – its ideas about nature, home and the future.