Relevant bibliographies by topics / Landscape painting Australia

Academic literature on the topic 'Landscape painting Australia'

Author: Grafiati
Published: 10 December 2022
Last updated: 28 January 2023

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Journal articles on the topic "Landscape painting Australia"

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Diprose, Rosalyn. "The Art of Dreaming: Merleau-Ponty and Petyarre on Flesh Expressing a World." Cultural Studies Review 12, no. 1 (August 5, 2013): 32–43. http://dx.doi.org/10.5130/csr.v12i1.3411.

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I do not understand painting very well, and especially not Australian Indigenous painting, the dot painting of Western and Central Desert artists such as Kathleen Petyarre. I grew up without art on the wall, among gum trees, red dirt, dying wattle, and ‘two thirds (blue) sky’. While this might suggest that I inhabit the same landscape as Petyarre, I also grew up without ‘the Dreaming’, the meaning that this dot painting is said to be about. How and why then can this painting have the impact on me that it does? And, given the history of colonisation in Australia, including the colonisation of Indigenous meanings, what is the politics of the impact of that painting?
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Motta, Ana Paula. "From Top Down Under: New Insights into the Social Significance of Superimpositions in the Rock Art of Northern Kimberley, Australia." Cambridge Archaeological Journal 29, no. 3 (February 18, 2019): 479–95. http://dx.doi.org/10.1017/s0959774319000052.

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Rock-art researchers have long acknowledged the importance of discerning superimposition sequences as a means for exploring chronology. Despite their potential for reconstructing painting events and thus informing on a site's production sequences, the social significance of superimpositions and their associated meanings have been little explored. In the Kimberley Region of northwestern Australia, interpretations of superimpositions as an analytical lens have often lingered on the ‘negative’ connotations of this practice (e.g. to destroy supernatural power embedded in previous paintings and/or to show cultural dominance). As a result, it has been proposed that the overpainting of previous images was tantamount to defacing, leading to the proposition that new images constituted a form of vandalism of older art. In this paper, a sample of rock-art sites from the northwestern and northeastern Kimberley is analysed with the aim of grounding the study of superimpositions in more nuanced practices, leading researchers to contemplate the role they played among populations within the same area. It is argued here that superimpositions brought together past and present experiences that served to reinforce the links between contemporary art production and the inherited landscape.
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Zhang, Chunyan. "“Civilizing Nature” in Australian Painting." Advances in Social Sciences Research Journal 9, no. 12 (December 23, 2022): 328–38. http://dx.doi.org/10.14738/assrj.912.13639.

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In Australian paintings and literary works of the colonial period, the wilderness and the Aboriginal people were represented as natural hurdles to be crossed and overcome, elements to be struggled against by the colonists who were attempting to “appropriate the environment exclusively to a British agenda of ‘civilization’ .” [1] This is manifestation of the Darwinian evolutionary rhetoric, the idea that societies progress from hunter-gatherer to Western industrialism in a linear hierarchy. This theme is prevalent in paintings and literature. Establishing this narrative was of paramount importance to the white settlers. It can be seen principally in the motif of “civilizing nature”, in which depictions of labour (images of the actual work of taming the wild landscape) or leisure (images of this work completed in the idyllic landscape) are stressed. This motif plays out the colonial agenda of celebrating masculine control over natural forces.
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Taylor, Ken. "A Symbolic Australian Landscape: Images in Writing and Painting." Landscape Journal 11, no. 2 (1992): 127–43. http://dx.doi.org/10.3368/lj.11.2.127.

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Myers, Fred. "Emplacement and Displacement: Perceiving the Landscape Through Aboriginal Australian Acrylic Painting." Ethnos 78, no. 4 (December 2013): 435–63. http://dx.doi.org/10.1080/00141844.2012.726635.

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Royo-Grasa, Pilar. "Painting the Australian Landscape with a South-Asian Brush: An Interview with Roanna Gonsalves." Le Simplegadi, no. 18 (November 2018): 283–93. http://dx.doi.org/10.17456/simple-119.

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Heckenberg, Kerry. "Conflicting Visions: The Life and Art of William George Wilson, Anglo-Australian Gentleman Painter." Queensland Review 13, no. 1 (January 2006): 1–21. http://dx.doi.org/10.1017/s1321816600004244.

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Research for this paper was prompted by the appearance of a group of nine small landscape paintings of the Darling Downs area of Queensland, displayed in the Seeing the Collection exhibition at the University Art Museum (UAM), University of Queensland from 10 July 2004 until 23 January 2005. Relatively new to the collection (they were purchased in 2002), they are charming, small works, and are of interest principally because they are late-colonial depictions of an area that was of great significance in the history of Queensland.
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Davis, Susan. "Wildflowering culture: Kathleen McArthur and creating a popular wildflower consciousness." Australasian Journal of Popular Culture 9, no. 1 (March 1, 2020): 67–82. http://dx.doi.org/10.1386/ajpc_00016_1.

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Changing people’s hearts and minds requires courage, conviction and creativity. To change attitudes and reach the public consciousness, a diverse range of communicative and cultural tools need to be employed. Australian artist and conservationist Kathleen McArthur rose to the challenge using all the forms that were available to her. Working with others such as renowned poet Judith Wright, she sought to change the way Australians regarded our native plants and landscapes. Kathleen understood that to protect the precious environments that remained would require reaching out to ordinary Australians. Therefore, she utilized a suite of arts and communication forms, ranging from postcard campaigns to weekly newspaper columns, public talks, slide presentations, paintings, exhibitions and published books. Inspired by natural forms and utilizing cultural forms, McArthur was able to promote a form of ‘nature culture’ and public consciousness to protect and promote the nature that she loved.
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Aires Franceschini, Marcele. "Idyllic Self in Africa (2000), by Ken Taylor and in Boy (2010), by Taika Waititi: a literary-cinematographic dialogue." Acta Scientiarum. Language and Culture 41, no. 2 (October 1, 2019): e45306. http://dx.doi.org/10.4025/actascilangcult.v41i2.45306.

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The idyllic approach of this article deals with the dialogue between two distinct artworks: poems from the book Africa (Taylor, 2000), emphasizing the poem ‘Waikiki’, by the Australian poet, journalist and filmmaker Ken Taylor; and the movie Boy (Curtis, Gardiner, & Michael, 2010), directed by the New Zealander film-director, actor and writer Taika Waititi. The poems and the movie are connected by synesthetic perceptions, mostly related to painting, colorizing and shaping that are displayed in the described scenarios. Hereby, these aspects were theoretically reviewed by the following authors: Rimbaud (1966), Kandinsky (1977), Ostrower (1977), Bachelard (1986, 2011), Cytowic (1993), Berger (2008), Lambert (2010), among others. The method of analysis includes the concepts in which the art producers uncovers the relationship between nature and the self, considering the fact that beyond poet and director, respectively Taylor and Waititi are also painters. Nature is widely open before their meditative eyes, therefore rather than outreaching the natural world with motionless expectations; both portray idyllic wonders related to individual/cultural scopes. As a result, from its amorphous state, words transmute themselves into landscapes, sensations, and forms. The aim was to follow the paths that image evocates in the description of each author, since they share contemplativeness, surrounded by consciousness, perceptions and freedom, all demanded during the creative process.
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Scotcher, Jacqueline. "Wayfaring and Creative Practice in Tropical Far North Queensland Landscapes." eTropic: electronic journal of studies in the tropics 15, no. 2 (December 20, 2016). http://dx.doi.org/10.25120/etropic.15.2.2016.3541.

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<p>Walking and the tropical Far North Queensland landscape of Australia have had a major influence on the author’s creative research. In this paper, immersive practice, which includes walking, is examined as a means to form connections with the natural environment and stimulate imaginative thought. These attributes have developed the author’s painting processes, which endeavour to enrich understandings of the landscapes of tropical far north Queensland. An immersive approach responds to the complexities of increasingly sedentary lifestyles and the tendency to engage with digital distractions in our high speed media-connected world. In this fast-paced realm, meaningful relationships with the natural environment can be reduced, with meandering and imaginative pursuits often becoming neglected. Living in Far North Queensland provides easy access to unique tropical landscapes to engage with. Walking receptively in such natural environments can provide a physical and mental counterpoint to contemporary fastpaced lifestyles. Furthermore, walking provides opportunities to engage in ‘mindwandering’ and embodied experience that can enrich painting practice.</p><p><br />The research presented in this paper celebrates life in tropical Far North Queensland and highlights the artist’s experience in this particular part of the world. Recently, the 29th of June was designated the International Day of the Tropics by the UN General Assembly, a day founded to raise awareness and consideration of both the challenges and opportunities faced by tropical regions of the world. (stateofthetropics.org). This designated day provides space for the author/artist to reflect upon the diverse culture and ecosystems of the region and position her artistic practice within a broader context of ideas relating to tropical environments.</p>
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Dissertations / Theses on the topic "Landscape painting Australia"

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Hoene, Katherine Anne. "Tracing the Romantic impulse in 19th-century landscape painting in the United States, Australia, and Canada." Thesis, The University of Arizona, 2000. http://hdl.handle.net/10150/278748.

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The purpose of this thesis is to identify essential characteristics of the first generation of Romantic landscape painters and painting movements in a given English-speaking country which followed the generation of Turner, Constable and Martin in England, and then trace how the second generation of Romantic-realist painters represents a different paradigm. For a paradigmatic construct of the first generation, the focus is on the lives and major works of the American arch-Romantic landscape painter Thomas Cole (1801--1848) and the Australian Romantic landscape painter Conrad Martens (1801--1878). The second generation model features the American Frederic Edwin Church (1826--1900), the Australian William Charles Piguenit (1836--1914), and the British Canadian Lucius Richard O'Brien (1832--1899). Cole and Martens, closer to their predecessors in England, created dynamic paradigm shifts in their new countries. Following them, the second generation of Romantic-realists produced a synthesis of romanticism, scientific naturalism, and nationalistic symbolism.
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Carroll, Rachel Art College of Fine Arts UNSW. "What kind of relationship with nature does art provide?" Awarded by:University of New South Wales. Art, 2007. http://handle.unsw.edu.au/1959.4/43308.

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The relationship with nature through art has been explored as a two fold bond. The first considers a relationship with nature via art and science, where the history and contemporary application of scientific illustration in art is explored; while the second explores past and present connections with nature via art and the landscape, particularly the panoramic tradition. Historically these relationships have predominately been about dominating nature, mans dominion over the land. Science was seen as the only authority, while our relationships with the land in art, positioned the viewer at a commanding distance above and over the land, as seen in the post colonial panoramic tradition. In contrast, -The Coorong Series- explores a lived history with nature rather than the historical role of dominance. -The Coorong Series" explores a relationship of knowledge, understanding, and the experience of nature; through two parts. The first combines art and science in -The Coorong Specimen Series', to explore the facts and knowledge that science has provided about certain plants, birds and marine life from the Coorong. Inspiration has been derived from 19thC scientific illustrations and the lyrical prints of the Coorong by Australian Artist John Olsen. Part two explores the immersive experience of the iconic landscape in ???The Coorong Landscape Series" providing a relationship that seeks to understand the functionality of the location and to celebrate the unique beauty of this diverse region. Inspiration has been gained from the landscapes by l8th and 19th C artists John Constable and Claude Monet, along with landscapes by contemporary artists, John Walker and Mandy Martin. Through aesthetic notions such as scientific illustration, panoramic landscape, immersive scale, the collection of work, an expressionistic use of paint, and labeling of each piece like a museum display. -The Coorong landscape series" provides an exploration of a region that immerses the viewer in an experience of the location. The series portrays a relationship with nature through art that educates the viewer about The Coorong region. Connections are made between the land, birds, plants, fish, and human interaction; which results in an ecological consideration of the Coorong. Ultimately it is the educational experience that art provides allowing the viewer to explore a plethora of relationships within nature, and to explore how these relationships have changed or continue to exist within this era.
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Parker, Margaret Ina. "Landscape painting : connection, perception and attention /." Access full text, 2006. http://www.lib.latrobe.edu.au/thesis/public/adt-LTU20080225.113947/index.html.

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Thesis (M.Visual Arts) -- La Trobe University, 2006.
Research. "An exegesis submitted in partial fulfilment of the requirements for the degree of Master of Visual Arts by Research, School of Visual Arts and Design, Faculty of Humanities and Social Sciences, La Trobe University, Bundoora". Includes bibliographical references (leaves 87-92). Also available via the World Wide Web.
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Parker, Margaret Ina, and margaret_p@optusnet com au. "Landscape Painting: Connection, Perception and Attention." La Trobe University. Visual arts and design, 2006. http://www.lib.latrobe.edu.au./thesis/public/adt-LTU20080225.113947.

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I investigate the lived experience, the actuality of responding to land as a painter. This thesis consists of intensive investigations in the field and further exploration in the studio, resulting in a body of paintings and drawings which form the exhibition. The exegesis explores theories and ideas surrounding the work. The psychological engagement between people, land and art is of major concern. The choice of place selected to paint and the subject matter of rocks is discussed. Painters who work outside or have painted at the same site are considered for comparison with my working methods or concerns. The selective view is intimate. The format of the image and the composition are discussed in terms of proximity and space. Consideration of the psychology of engagement with land and landscape painting, either as an observer or painter, is a major component of the research. This examination of human psychological development illuminates the origin of our sense of self and how we relate to the land on which we live. The premise of this enquiry is the idea that art and culture could reflect human psychological development. Do art objects contribute to cultural understanding of the relationship of person to environment? A phenomenological perspective is incorporated in this exploration of the interrelation of vision, perception and attention. Can the reality of experience be transferred into the art work? The deep attention to the landscape of Australian Aboriginal people serves as a cultural reference for these investigations. This study concludes that sentient consciousness involving responsibility for land is an open, effective way of perceiving and depicting landscape. Responsibility for land can be encouraged by the development of cultural ideas based around landscape and can be the result of feeling connected to land. Art can contribute to changes in attitudes to land.
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Donald, Colin University of Ballarat. "Quoting landscape : an investigative journey across the landscape of the Westen district of Victoria." University of Ballarat, 2004. http://archimedes.ballarat.edu.au:8080/vital/access/HandleResolver/1959.17/12759.

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"This research project aims to provide a contemporary visualisation of "specific sites." The visualisation of these selected landscapes will draw upon and add to existing traditions of representation of this region, embedding my experiences within this dialogue."
Master of Arts (Visual Arts)
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Donald, Colin. "Quoting landscape : an investigative journey across the landscape of the Westen district of Victoria." University of Ballarat, 2004. http://archimedes.ballarat.edu.au:8080/vital/access/HandleResolver/1959.17/14594.

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"This research project aims to provide a contemporary visualisation of "specific sites." The visualisation of these selected landscapes will draw upon and add to existing traditions of representation of this region, embedding my experiences within this dialogue."
Master of Arts (Visual Arts)
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Suwannakudt, Phaptawan. "The Elephant and the Journey: A Mural in Progress." University of Sydney, 2005. http://hdl.handle.net/2123/1101.

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Master of Visual Arts
The Elephant and the Journey is about what and how people see in the land and how this is expressed through art forms. The dissertation consists of three main parts. The first in the introduction explains the use of the narrative figuration form in Thai temple mural painting in my practice, and how I used it to apply to the contemporary context in Australia. The second concerns three main groups of work including Australian landscape paintings in the nineteenth century, aboriginal art works and Thai mural painting, which apply to the topic of landscape. The second part in Chapters I and II, examine how significant the perspective view in the landscape was for artists during the colonial period in Australia. At the same time I consult the practice in Aboriginal art which also concerns land, and how people communicate through the subject and how both practices apply to Thai art, with which I am dealing. Chapter III looks at works of individual artists in contemporary Australia including Tim Johnson, Judy Watson, Kathleen Petyarre Emily Kngwerreye, and then finishes with my studio work during 2004-2005. The third part, the conclusion refers to the notions of cultural geography as suggested by Mike Crang, Edward Relph and Christopher Tilley, which analyse how people relate to a location through their own experience. I describe how I used a Thai narrative verse written by my father to communicate my work to the Australian society in which I now live.
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Woodger, Jeff Robert University of Ballarat. "An inquiry into Suiboku and Kano School influences on Rococo and Romantic landscape painting through Claude Lorraine (1600-1682) and Salvator Rosa (1615-1673)." University of Ballarat, 2006. http://archimedes.ballarat.edu.au:8080/vital/access/HandleResolver/1959.17/12791.

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"This research project examines the impact and influence of Chinese and Japanese ink landscape painting on the genre of Grand Manner Classical and Romantic landscape painting in Europe, from its beginnings as an independent genre in the 17th century. Specifically, the grand theme of woods and rivers will be investigated and its stylistic and philosophical relationship to Chinese and Japanese aesthetics demonstrated. The work examines how Far Eastern landscape painting conventions and techniques can be effectively acquired, and practically applied to painting in the manner of Classical and Romantic landscapes. [...]The aim of the investigation is to contribute to our deeper understanding of the genesis of this important style of artistic representation, and give fuller credit to the initiators of the technique and to those who realised its potential in the field of Western art."
Doctor of Philosophy
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Woodger, Jeff Robert. "An inquiry into Suiboku and Kano School influences on Rococo and Romantic landscape painting through Claude Lorraine (1600-1682) and Salvator Rosa (1615-1673)." University of Ballarat, 2006. http://archimedes.ballarat.edu.au:8080/vital/access/HandleResolver/1959.17/15614.

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"This research project examines the impact and influence of Chinese and Japanese ink landscape painting on the genre of Grand Manner Classical and Romantic landscape painting in Europe, from its beginnings as an independent genre in the 17th century. Specifically, the grand theme of woods and rivers will be investigated and its stylistic and philosophical relationship to Chinese and Japanese aesthetics demonstrated. The work examines how Far Eastern landscape painting conventions and techniques can be effectively acquired, and practically applied to painting in the manner of Classical and Romantic landscapes. [...]The aim of the investigation is to contribute to our deeper understanding of the genesis of this important style of artistic representation, and give fuller credit to the initiators of the technique and to those who realised its potential in the field of Western art."
Doctor of Philosophy
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Gray, Sarah Willard. "Abstracting from the landscape a sense of place /." Access electronically, 2008. http://ro.uow.edu.au/theses/147.

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Books on the topic "Landscape painting Australia"

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Richard, Woldendorp, ed. Landscapes of Western Australia. Claremont, W.A: Æolian Press, 1986.

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Radford, Ron. Ocean to outback: Australian landscape painting 1850-1950. Canberra, A.C.T: National Gallery of Australia, 2007.

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Frank, McDonald, ed. The artists' camps: ʻpleinʼ air painting in Australia. Melbourne, Vic., Australia: Hedley Australia Publications, 1992.

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Hylton, Jane. Hans Heysen: Into the light. Kent Town, S. Aust: Wakefield Press, 2004.

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1950-, Kornhauser Elizabeth Mankin, Sayers Andrew 1957-, Ellis Amy, National Gallery of Australia, National Gallery of Victoria, Wadsworth Atheneum, and Corcoran Gallery of Art, eds. New worlds from old: 19th century Australian & American landscapes. Canberra: National Gallery of Australia, 1998.

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Splatt, William. Australian landscape painting. Ringwood, Vic., Australia: Viking O'Neil, 1989.

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Smibert, Tony. The art of Tony Smibert: The St John Ambulence Collection. Deloraine, Tasmania: Studio Editions Australia, 2006.

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Barbara, Burton, ed. A treasury of Australian landscape painting. Ringwood, Vic: Viking O'Neil, 1987.

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Art Gallery of New South Wales and Balnaves Foundation, eds. Wilderness: Balnaves contemporary painting. Sydney: Art Gallery of New South Wales, 2010.

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Burn, Ian. National life & landscapes: Australian painting, 1900-1940. Sydney: Bay Books, 1990.

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Book chapters on the topic "Landscape painting Australia"

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"Unsettling Landscape: An Artists’ Conversation." In Colonization, Wilderness, and Spaces Between: Nineteenth-Century Landscape Painting in Australia and the United States. Terra Foundation for American Art, 2020. http://dx.doi.org/10.37862/aaeportal.00293.9.

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"Unsettling Landscape: An Artists’ Conversation." In Colonization, Wilderness, and Spaces Between: Nineteenth-Century Landscape Painting in Australia and the United States. Terra Foundation for American Art, 2020. http://dx.doi.org/10.37862/aaeportal.00293.9.

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"Whisperings of Wilderness in Australian Centenary Landscapes." In Colonization, Wilderness, and Spaces Between: Nineteenth-Century Landscape Painting in Australia and the United States. Terra Foundation for American Art, 2020. http://dx.doi.org/10.37862/aaeportal.00293.8.

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"Whisperings of Wilderness in Australian Centenary Landscapes." In Colonization, Wilderness, and Spaces Between: Nineteenth-Century Landscape Painting in Australia and the United States. Terra Foundation for American Art, 2020. http://dx.doi.org/10.37862/aaeportal.00293.8.

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"“Hideous Fidelity to Nature”: John Glover and the Colonized Landscape." In Colonization, Wilderness, and Spaces Between: Nineteenth-Century Landscape Painting in Australia and the United States. Terra Foundation for American Art, 2020. http://dx.doi.org/10.37862/aaeportal.00293.5.

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""Perception, History, and Geology: The Heritage of William Molyneux’s Question in Colonial Landscape Painting"." In Colonization, Wilderness, and Spaces Between: Nineteenth-Century Landscape Painting in Australia and the United States. Terra Foundation for American Art, 2020. http://dx.doi.org/10.37862/aaeportal.00293.7.

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""Perception, History, and Geology: The Heritage of William Molyneux’s Question in Colonial Landscape Painting"." In Colonization, Wilderness, and Spaces Between: Nineteenth-Century Landscape Painting in Australia and the United States. Terra Foundation for American Art, 2020. http://dx.doi.org/10.37862/aaeportal.00293.7.

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"Shoreline Landscapes and the Edges of Empire." In Colonization, Wilderness, and Spaces Between: Nineteenth-Century Landscape Painting in Australia and the United States. Terra Foundation for American Art, 2020. http://dx.doi.org/10.37862/aaeportal.00293.3.

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"Shoreline Landscapes and the Edges of Empire." In Colonization, Wilderness, and Spaces Between: Nineteenth-Century Landscape Painting in Australia and the United States. Terra Foundation for American Art, 2020. http://dx.doi.org/10.37862/aaeportal.00293.3.

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"Figures of Predatory Looking: Managing Death in Antebellum American and Colonial Australian Landscape." In Colonization, Wilderness, and Spaces Between: Nineteenth-Century Landscape Painting in Australia and the United States. Terra Foundation for American Art, 2020. http://dx.doi.org/10.37862/aaeportal.00293.4.

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