RESUMEN INGLÉS This research work (Visions of the surroundings: landscape, land and city in visual arts) carries out an interdisciplinary approach to different strategies and visual concepts developed by the Western culture to represent the environment and transform it into a cultural concept that, through artistic processing, is described as landscape. The work carried out does not follow a historicist nor an iconographic methodology, since the use of historical and iconic referents is subject to the accomplishment of a conceptual approach aimed at understanding our surroundings —natural and urban— and see how the notion of space is being delimited nowadays. In this sense, looking back to the past is not the objective of our research, since what is searched for is to be able to interpret our present and reflect in a global, systematic and nonfragmentary way on the evolution of the environment and/or the urban landscape within the visual arts. As opposed to the restrictive idea of landscape only understood as related to a static natural reality, its extension to any environment (since the natural surroundings are also changing cultural elaborations) and any look (since the landscape involves the space or land seen from a given position or point of view), has led this research work to analyze not only the meaning of the new urban and periurban territories, but also the visions that they generate, especially after the theoretical contributions by Charles Baudelaire and Umberto Boccioni (contributions that have to be contextualized nowadays within the hegemonic role played by the urban phenomenon in urban planning). In order to carry out our analysis, the starting point was the culturalist criticisms on the idea of nature, as well as from the phenomenologic positions theorized by Martin Heidegger, Gaston Bachelard, Maurice Merleau-Ponty, Otto Friedrich Bollnow, Mikel Dufrenne and Luigi Pareyson. These contributions have been complemented not only by artistic contributions (Paul Scheerbart, Ludwig Meidner, Otto Dix, George Grosz, Max Ernst, Giorgio de Chirico, Edward Hopper, Piet Mondrian, Louise Bourgeois, Robert Smithson, Gordon Matta-Clark) or aesthetic (Alain Roger, Robert Rosenblum, Hugh Honour, Francisco Calvo Serraller, Iria Candela, Anna Maria Guasch, Javier Maderuelo, Simón Marchán, Eduardo Subirats), but also philosophical (Günther Anders, Guy Debord, José Ortega y Gasset) anthropological (Marc Augé), sociological (Paul Virilio, Ulrich Beck, Manuel Castells), mediatic-communicational (Regis Debray, William J. Mitchell, Javier Echeverría) or architectonic-urban planning (Henri Lefebvre, Gilles Clément, Rem Koolhaas, Juhani Pallasmaa). Through these contributions we have been able to situate the works of the artists analyzed, and at the same time, approach the visions of the environment. Visions that, arisen from the loss of functional value of the land, are always related to symbolic, religious, economic and aesthetic issues. For this reason, in our study we have analyzed the appearance of the secularized environments, the use of a math system of visual representation, the autonomous conception of landscape, the mysticism inherent to the ideas of progress, industrialization and machinist utopia and, finally, the appropriation of the city as natural environment of the contemporary urban human being. This environment, retaking the romantic concepts of sublime and emotion —the landscape as emotional status— has resulted in different responses: as self-referenced speech, as space linked to memory, as scope of political and social intervention, as landscape of globalisation, as garbage space and virtual reality. VISIONES DEL ENTORNO Paisaje, territorio y ciudad en las artes visuales