William Hodges opened the South Seas to the European imagination in the eighteenth century. His landscape paintings of exotic beauty and sensitivity changed European’s outlook on the world beyond Europe and ignited the yearnings for a paradise with the surge of Western colonialism (Quilley 2004, 1-4). Marking a departure from the classical landscape tradition was Hodges’ en plein air technique, which infused his mythical imagery with natural light in the open air and richly compelling beauty peculiar to the southern hemisphere. In presenting historic events, he proceeded with intuitive understanding of a whole, not with particularities of details, for unambiguous quality of visual documentation. Some contemporary art critiques say, however, Hodges is just an artist of empire, who danced to the chorus of “Rule Britannia” and accelerated the death of ancient South Pacific world. But his contribution to British landscape imagery as the first professional landscape artist to represent the Pacific should not be underrated.
Hodges was the most widely travelled artist of his day, representing extensive global territories so profusely. Apprenticed to landscape painter Richard Wilson, he was on James Cook’s second voyage to the Pacific as a draughtsman in 1772 (Smith 1992, 115). This expedition artist, who was employed by the Admiralty, produced many portrait sketches and large-scale landscape oil paintings of coastal scenes in the South Pacific and the Antarctic. In 1778, he visited India as a first professional landscape painter, and worked for the East India Company for six years. Later in life, he travelled Europe, and briefly worked as a landscape painter at the Pantheon Opera House in St. Petersburg, Russia (Smith 1992, 13). Hodges ...
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... globe. Hodges figured within the larger context of the history of eighteenth-century imperialism and his art gained ground within the expansion of the British art. And he presented the non-European world through the filter of European vision. However, Hodges was not an advocate of war. Sometimes he lamented the ruinous impact of war. The tragedy of Tahiti is not directly attributable to his paintings. His role was debated at great length but without conclusion. On the contrary, nobody doubts about Hodges’s artistic qualities. His paintings have emphatic and unambiguous quality of visual documentation, which demonstrate the mix of immediacy and idealization. Despite the Enlightenment and imperialism ended, Hodges’s place as a professional landscape painter in the art history is solid. His paintings are still at display at the Queen’s House at Greenwich in London.
Born in Bolton, Lancashire, England in 1837, Thomas was taken to the United States at the age of 7. (Ency. Bio. Vol. 11). He was educated in Philadelphia public schools for his elementary years and then indentured to a wood engraving firm in 1853-1856. (Am.Nat.Bio.Vol 15). He had three brothers who were artist, but he learned to paint from his brother Edward Moran. He did do some watercolors during his apprentictionship and in 1856, he painted his first oil painting titled, Among the Ruins There He Lingered. (Vol.11). Moran still working closely with his brother became an informer student of Philadelphia marine artist James Hamilton. Hamilton may have introduced him to the work of J.M.W, turner and a belief in close study of nature in his foundation of panting. (Vol.15) Moran exhibited landscapes at the Pennsylvania Academy of the fine arts for the first time in 1856 and then later elected academician in 1861. He continued to exhibit there through 1905. (Vol.15). 1862 Thomas married Mary Nimmo who had always thought to be her husbands student. (Vol.15). The beginning of his life had just started and didn't know that he would accomplish so many feats with his artwork of nature.
In the article of “Exhibiting Intention: Some Preconditions of the Visual Display of Culturally Purposeful Objects”, the author, Michael Baxandall mainly discussed interrelationship within the group of three agents upon their influence and reflect of the artifacts in the museum, and the understanding of culture elements behind the display. In the first part of this paper, I will identify the points of view of the author. In the second part, I will analyze the layout of the gallery, “Imagining the Underground” in Earth Matters in Fowler Museum in UCLA. Several discussion related to the settings of the museum and the article will be discussed interactively. In general, this paper tries to show the robustness and the weakness of Baxandall’s model, which will specified.
Even though an individual’s response is subjective, hermeneutical aesthetics focuses on interpretive incompleteness as part of the way human, viewers of artworks included, are in the world. An artwork is always experienced in the present from a particular present point of view and its interpretation is the transmission of meanings across time. In this way the artworks discussed in this thesis bear witness to particular historical events and allow for possible projections of those past events into the future. Contemporary life is permeated with a diversity of visual information. In such an atmosphere the hermeneutic approach provides a way of understanding the applications of the meaning we make of visual input. In light of it, the responsibility of both artist and viewer is among the issues discussed in the last part ‘Beyond Horizons’. Here the perspective moves to weave together the threads of ideas and issues that have been identified in the ‘Fusion of Horizons’ section, and reflects on aspects that reverberate beyond the shifting possibilities within the
The first artist that I would like to discuss is named Nehemiah Partridge and his painting during the 17th century. Nehemiah Partridge is a painter from the 17th century and he painted colonial art. The painting that I chose is named “Portrait of Catherine Ten Broeck”, and was created in 1719 on oil canvas. The painting is of a young girl holding a rose in her right hand while holding a bird in her left hand. The girl in the painting is very young, and she seems to be very happy being painted. The painting illustrates every-day life in the 1700s. The artist chose very earthy tones for the color scheme, but the light is focused on the young girl. The elements were very calm and peaceful in this painting. In addition, the background of this painting focuses on a young girl named Catherine who was painted by Nehemiah Partridge. The painting has descended by Edward L. Ford from the family’s great-great-great-granddaughter in New York City. This style of painting reflects “reflects Partridge's style of quick, prominent brush strokes with a palette of black, brown, blue, and rust. The sket...
Kleiner, Fred. Gardner's Art Through the Ages: A Global History. International ed edition. Wadsworth, January 2008.
Imagine pondering into a reconstruction of reality through only the visual sense. Without tasting, smelling, touching, or hearing, it may be hard to find oneself in an alternate universe through a piece of art work, which was the artist’s intended purpose. The eyes serve a much higher purpose than to view an object, the absorptions of electromagnetic waves allows for one to endeavor on a journey and enter a world of no limitation. During the 15th century, specifically the Early Renaissance, Flemish altarpieces swept Europe with their strong attention to details. Works of altarpieces were able to encompass significant details that the audience may typically only pay a cursory glance. The size of altarpieces was its most obvious feat but also its most important. Artists, such as Jan van Eyck, Melchior Broederlam, and Robert Campin, contributed to the vast growth of the Early Renaissance by enhancing visual effects with the use of pious symbols. Jan van Eyck embodied the “rebirth” later labeled as the Renaissance by employing his method of oils at such a level that he was once credited for being the inventor of oil painting. Although van Eyck, Broederlam, and Campin each contributed to the rise of the Early Renaissance, van Eyck’s altarpiece Adoration of the Mystic Lamb epitomized the artworks produced during this time period by vividly incorporating symbols to reconstruct the teachings of Christianity.
Renaissance art is a component of the Renaissance, it was a period of literary, artistic, and scientific revival occurred in Europe in the sixteenth century. The key aspect of the Renaissance period as is the renewal of themes and art in Europe after the middle ages. For the first time, art enters the private sphere; the works are no longer just driven by religious or secular power, but enter houses. The renewal of philosophical reflection provides artists with new ideas. Painters and sculptors do not hesitate to represent the beauty of the naked human body. The four great masters of art create art forms that are still references for many artists from the renaissance till today.
Contemporary art is the art that has been and continues to be created during our lifetimes, which can include and represent the Australian culture, politics and music as well as in art forms such as portrait and landscape. Contemporary art is defined as art that is current, offering a fresh perspective and point of view and often employing new techniques and new media. Current art means work by both emerging and also established artists. Rosalie Gascoigne and Imants Tillers are honoured for their contribution showing the Australian landscape in fresh, new and transformational way. Whilst both are similar in their use of text and original interpretation of our landscape they are vastly different in their approach and creating meaning for their
Gardner, Helen, and Fred S. Kleiner. Gardner's Art Through the Ages: The Western Perspective. N.p., 2014. Print.
Thomas Cole was born on February 1, 1801 in Bolton, Lancashire, England. Due to financial problems his family endured, Cole, at the ripe old age of just fourteen, had to find work to assist with the family needs. He entered the work force as a textile printer and wood engraver in Philadelphia. In 1819, Cole returned to Ohio where his parents resided. Here, a portrait painter by the name of Stein, would become Cole’s primary teaching vehicle and inspiration for his oil techniques we’ve come to be familiar with. During this time, Cole was extremely impressed by what he saw in the landscapes of the New World and how different they were from the small town of England from whence he hailed. Self taught, art came naturally to Cole.
The Renaissance was a turning point for art. Many new styles and techniques emerged from this time period. Compared with the paintings of the Middle Ages, during the Renaissance, paintings became more realistic and more attention was directed to the detail of each person. Perspective and a sense of depth and space were included in the paintings. We can examine these features in the 15th century paintings of the Annunciation by Botticelli and Campin.
Spanish painter, the country's greatest baroque artist, who, with Francisco de Goya and El Greco, forms the great triumvirate of Spanish painting.
Diarmuid Costello, Jonathan Vickery. Art: key contemporary thinkers. (UTSC library). Imprint Oxford: Berg, 2007. Print.
Vincent Van Gogh’s well known artwork had a profound impact on the world. After being rejected countless times by other jobs, Van Gogh realized that art was his calling and he begun to research other artists and various artwork. He visited several museums in London and got inspiration from many of the impressionists living in Europe at the time.
During the 19th century, a great number of revolutionary changes altered forever the face of art and those that produced it. Compared to earlier artistic periods, the art produced in the 19th century was a mixture of restlessness, obsession with progress and novelty, and a ceaseless questioning, testing and challenging of all authority. Old certainties about art gave way to new ones and all traditional values, systems and institutions were subjected to relentless critical analysis. At the same time, discovery and invention proceeded at an astonishing rate and made the once-impossible both possible and actual. But most importantly, old ideas rapidly became obsolete which created an entirely new artistic world highlighted by such extraordinary talents as Vincent Van Gogh, Eugene Delacroix, Paul Gauguin, Paul Cezanne, Toulouse-Lautrec, and Claude Monet. American painting and sculpture came around the age of 19th century. Art originated in Paris and other different European cities. However, it became more popular in United States around 19th century.