Throughout, this essay will discuss the paintings of John Constable (The Cornfield), Caspar David Freidrich (Morning in Reisenbirge) and J.M.W Turner (Rain, Steam and Speed) which examplify particular social politics and ideologies of the time, and also how the depiction and vocabulary or visual strategies of landscape have been harnessed by the above mentioned artworks to convey the perspectives, beliefs, ideologies, and politics at that given time.
Landscape can be defined in many ways. The English Dictionary has described landscape as “that portion of land or scenery with which the eye can view at once”. Secondly, dictionaries also state that Landscape is scenery and something to be viewed by the eye, that being the land being seen from a particular perspective. Landscape may also signify to an image of the land. Other dictionaries refer to landscape as a “ ‘scenery’ and that it is not just land itself, but the land as seen from a particular point of view” (Wylie, 2007). In Fine Art, the term landscape defines a piece of land, it portrays a scenic view or views such as seascapes, rivers, forests, mountains, meadows, and hills and so on. This so called landscape may be of a real place or landscape or an imaginary or idealised scene
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Constable separates himself from the usual river scene to paint a part through the thick forest which leads out to a ripe field of grain. The word grain in England is called “corn” and so hence the name of the painting, The Cornfield. There’s a gradual sense of distant perspective which these days, we are not so fortunate to witness and enjoy. There is a very different suggestion, almost dreamlike which the viewer could imagine themselves gazing across the field and imagining hearing a distant church clock tower ringing in the
This work shows impeccably drawn beech and basswood trees. It was painted for a New York collector by the name of Abraham M. Cozzens who was then a member of the executive committee of the American Art-Union. The painting shows a new trend in the work of the Hudson River School. It depicts a scene showing a tranquil mood. Durand was influenced by the work of the English landscape painter John Constable, whose vertical formats and truth to nature he absorbed while visiting England in 1840.
His painting style for landscape is similar to Thomas Cole. They have similarity in tone and texture, but Constable colors are not as vibrant as Cole. In Constable painting, The Hay Wein, the landscape of the countryside looks very peaceful and not much of any loud noise or association that is disturbing this peaceful area. The most focus area in this painting should be the cottage, and the horse with the wagon that is in the foreground, but the bright blue sky with white clouds and the yellow sunlight in the distance distract the eye from looking at the foreground. The way he painted his clouds shows he had been studying them since the clouds have different layer of shades and shapes. The dark clouds cast a heavy dark shadow in the foreground, which it felt like it is hiding the subject matter. The figure standing next to the wagon wore a white shirt, which brings the eyes back to the center of the painting, but it is somewhat noticeable. The painting was supposed to be a past memory of Constable young life when he would roam around the meadow and meet his neighbors. The person who lives in that cottage belongs to a farmer named Willy Loff, who is identified to be the figure on the wagon. To this day, the cottage and the road still stand, and any tourist can still get the chance to see the location, and possible visit the home Constable was raised
The distinctive arches of Walton Bridge alone can be seen in many scenes and landscapes far from the Thames. Having studied architectural drafting at a young age, and later going on to become a professor of perspective at the Academy, it is unsurprising that Grand pieces of forgotten, taciturn architecture frequent many of Turners’ Landscapes. The timeless quality of Turners’ bridges often rest amongst temporary pastoral scenes, as ‘Walton Bridge’ does amongst the sheep shearers. Turner in this way juxtaposes the timeless and stable against the transient and fast passed life of the 19th century. The bridge further provides a common focal point in Turners work, standing as a poetic metaphysical symbol of timelessness and transience; providing a way through for the river and a way over for the pastors for as long as the bridge
Florian Maier-Aichen is a landscape photographer and drawer.With the computer he is able to alter photographs and make them a piece of artwork that not only pleases his thoughts, but also makes a statement.Since he takes real life images of a landscape and then constructs them in different modes that satisfy him , those images aren’t reality anymore.In Blum & Poe you can observe the strange colors he added to enrich myth-making.He fantasizes landscapes, making them open ended
Composers use comprehensive variety of language techniques to engage their audience by creating convincing and extraordinary images. Distinctively visuals are created through the use of extravagant techniques and complex word choice, so it helps the audience to visualize the text and therefore share and also intensify their understanding of the texts. Two short stories composed by ‘Henry Lawson’ that use techniques and word choice to portray distinctively visuals are ‘The Drover’s Wife’ and ‘In A Dry Season’, these two texts are strongly opposite to the visual ‘Flatford Mil’ by English artist John constable. Both ‘The Drover’s Wife’ and ‘In A Dry Season’ use distinctive visuals to intensify the responders understanding of place, the situation of the story, where the stories are set. People, the characters of the story and how they progress throughout the story. Ideas, themes and ideology that the composer is trying to express to his audience. Henry Lawson creates images of isolation, stoicism and the struggles for survival in the unforgiving rural Australian outback in his two well-known short stories ‘The Drover’s Wife’ and ‘In A Dry Season’. On the other hand, the visual, ‘Flatford Mil’ creates images of peacefulness, clamness and freedom through the composer’s use of colours, brush strokes and positioning.
The oil on canvas painting by Thomas Cole named The Fountain of Vaucluse is a painting that is best appreciated in person. The painting is something that can’t be seen in just a few minutes to really take in all that it has to offer. The different emphasis on colors, and the use of 2D and 3D visual illustrations can be over-welling to the viewer. As I gazed upon the painting I found my viewpoint of interest change do to the altered landscape illusion that came into focus.
This places the reader in recognisable landscape which is brought to life and to some extent made clearer to us by the use of powerful, though by no means overly literary adjectives. Machado is concerned with presenting a picture of the Spanish landscape which is both recognisable and powerful in evoking the simple joys which it represents. Furthermore, Machado relies on what Arthur Terry describes as an `interplay between reality and meditation' in his description of landscape. The existence of reality in the text is created by the use of geographical terms and the use of real names and places such as SOrai and the Duero, while the meditation is found in...
The main driving element in William Morris’s life has been the nature around him and the houses he lived in. The most prominent influence was the Kelmscott Manor. Therefore, I chose to go with Kelmscott Manor’s layout plan that exhibits the “inspirational garden “ that led to most of his design decisions, a map that depicts the pockets in the manor and how Morris was inspired by it. In addition to this, an original drawing of the Kelmscott Manor’s exterior that depicts how the manor amalgamated within the garden. To reinforce this, I picked a watercolor of the Kelmscott Manor and a photo that captivates the various perspectives of the garden in the manor. Moving on to his designs that interprets his love for nature I picked up the very first of his wallpaper design of the trellis that has a very naturalistic touch to it with the vines which seemed to be an extension of the “inspiration garden” on to the paper. Also chose one of the wallpapers he designed during the middle of his lifetime and one of his last designs as well. The underlying concept behind picking those was to outline the consistency in his design concept throughout his life. William Morris was a poet , whose poetry and compositions were also inspired by nature, and to depict his poetry in form of naturalism concept I picked a stance from one of his compositions that talks about forest, flora and fauna which directly ties to his underlying concept. Also the compositions he wrote always had engraved borders which was ...
These assemblages of work mirrror a reflection of glimpses of landscape beauty, a particular solace found in the nature surrounding us during her time in the outback, elegance, simplicity and the lifestyle of the physical world around us. Gascoigne has an essential curiousity displayed in her work exploring the physical word that is captured in an essence of this rural home which brings evocate depictions, subject to the arrangement of these simple remnants that offer so much more. The assemblages focus us on viewing the universe from a unique turnpoint, compromising of corrugated iron, feathers, worn linoleum, weathered fence palings, wooden bottle crates, shells and dried plant matter. The art works offer a poetic expression that traces remnants around the world that individually hold meaning to their placement in the
Frederic Edwin Church was clearly an epic and defining figure among the Hudson River School painters, particularly in his collaborative efforts in developing a sense of national identity for America, but also in fostering tourism through landscape painting, political influence, and entrepreneurialism. By answering the national call for artists and writers to define American landscape, Church took the first steps towards becoming, not only one of America’s greatest painters, but also a successful entrepreneur when it came to selling his own work to make a living. Church was dedicated to preserving “scientific accuracy” in his interpretations of nature and beauty, which were stimulated by the scientific writings of geographer and explorer Alexander von Humboldt.1
Theo and the young Narrator similarly discover the revelatory capacity of art through a single pivotal painting and author respectively, both which become significant motifs in either text. Tartt utilizes an existent painting ‘The Goldfinch’ as a fixed point of reference, which, for both Theo and the reader provides a sense of reality and constancy ‘rais[ing him] above the surface’ of an otherwise tumultuous childhood. Whereas Proust uses a fictional author, ‘Bergotte’, to communicate the universality of art, and invite the reader, through the vivid immediacy with which the Narrator’s early reading experiences are described, to participate in his epiphanic discovery that art can translate ‘imperceptible truths which would never have [otherwise] been revealed to us’ (97). Artistic imagery becomes a motif in Proust’s descriptions of scenes of domesticity and nature. In a scene recounting Francoise ‘masterful’ preparation of a family meal the Narrator describes asparagus in the technical language of painting as ‘finely stippled’ provoking an association between his observations of asparagus and the creation of a painting. By forming this improbable link he elevates unremarkable asparagus to the ‘precious’ status of art in the eyes of the reader. Proust’s presentation of his Narrator’s ‘fascination’ and pleasure at their ‘rainbow-loveliness’, forces the reader to consider asparagus with unfamiliar and attentive appreciation, conveying the idea that art can uncover the overlooked beauty of the mundane. Though Theo reveals a far more cynical view of ordinary life as a ‘sinkhole of hospital beds, coffins and broken hearts’ Tartt conveys the similar belief in art’s capacity to create a ‘rainbow-edge’ of beauty between our perceptions and the harshness of reality. In the most
Artists of the Modernist era responded to the relationship of body and landscape in many different ways. This essay will focus on the works of Georgia O’Keeffe (1887-1986) and Barbara Hepworth (1903-1975) and will explore two works by each artist. A desire of the Modernist artist was the pursuit of pure forms and removal of extraneous detail that would encumber their vision of what the world should, or in fact did look like to them. As Honour and Flemming (2009) propose, the thought of seeking original elucidations to the issues that surrounded the production of paintings and sculpture helped to propel the movement forward.
...d landscape materials in the galleries. Some of the large land art works can only be accurately enjoyed from some height by a plane or so. According to opponents, an art work should be open for every class of society. As viewing a large land art piece from the air is beyond the reach of poor person. But photographs are the best option to represent the huge and unreachable land artworks.
This chapter explores the idea of landscape in an anthropological construct. Hirsch aims to move away from the western ideals of understanding of landscape, and deconstruct it in an attempt to understand the local interoperation of landscape to prove it is part of a cultural process. Landscape has been used as a “standard framing device” (p1) by those looking from the outside in across anthropological history. Hirsch is looking to explore the landscape through the cultural understandings of the local people. (p1-5)
Several authors have based some of their writings on their spirituality. Some of these writings are as intricate as the Bible or as basic as an article in a local newspaper, but the meaning and passion behind them should never be doubted. In Leslie Marmon Silko's "Landscape, History, and the Pueblo Imagination", she expresses how her people have a very different meaning of "landscape". To Silko's people, the popular definition of landscape as being "a portion of territory the eye can comprehend in a single view" makes it seem as though the viewer is on the outside looking in. To them, the term landscape is much more than that. One cannot leave their surroundings, the earth and nature are always around us and we are always interconnected. The ancie...