Relevant bibliographies by topics / Landscape painting, Australian 20th century

Academic literature on the topic 'Landscape painting, Australian 20th century'

Author: Grafiati
Published: 10 December 2022
Last updated: 29 January 2023

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Journal articles on the topic "Landscape painting, Australian 20th century"

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Lacina, Jan, and Petr Halas. "Landscape Painting in Evaluation of Changes in Landscape." Journal of Landscape Ecology 8, no. 2 (November 1, 2015): 60–68. http://dx.doi.org/10.1515/jlecol-2015-0009.

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Abstract One of common methods of determining landscape change usually is to compare maps and photographic images of the same places in different time horizons. Landscape painting, which has a long and rich tradition in the Czech Republic, can be used similarly. Landscape-ecological interpretation of selected works by painters of the 19th century - Julius Mařák, František Kaván and Antonín Slavíček was done in this paper. Some pictures of the Českomoravská vrchovina (Bohemian-Moravian highlands) by Josef Jambor from the mid-20th century were used for detailed comparative analysis to the level of habitats. We compared 80 landscape paintings and found that most of the painted sceneries have changed for worse.
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Ковальова, М. М., and Цю Чжуанюй. "ІМПРЕСІОНІСТИЧНІ ТЕНДЕНЦІЇ В КИТАЙСЬКОМУ ОЛІЙНОМУ ЖИВОПИСУ ПЕРШОЇ ПОЛОВИНИ XX СТОЛІТТЯ." Art and Design, no. 3 (November 13, 2020): 55–65. http://dx.doi.org/10.30857/2617-0272.2020.3.4.

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The purpose of the article is to reveal the impressionistic trends in the fine arts of China, determining the originality of the Chinese oil painting development of the 20th century. Methodology. Historical and cultural, comparative, iconographic and iconological methods are used in the study. Results. The study examines the underinvestigated aspects of Chinese painting development in the first half of the 20th century. The retrospective analysis of the pictural art enables tracing the traditions and innovations in the formation of oil painting in China, which prevails at this historical stage of the national art school development. The desire of Chinese artists to preserve the philosophical foundation and theoretical principles of classical ink painting, and at the same time an interest in Impressionism, have become a peculiar feature of Chinese oil painting. The main trends, dominating at the beginning of the century, persist to this day, defining the development of Chinese oil painting in general. It is determined that the decorativeness and thematic repertoire of classical Chinese ink art has been transferred to oil painting, as evidenced by the booming exhibition activities. The study determined that in the first half of the 20th century, the impressionistic trend was spread in the country, which resulted from the study of Japanese and French masters by Chinese masters. The teaching methods and stylistic searches of Chinese artists of the period under study became the foundation of contemporary Chinese art. The latest trends in Chinese oil painting in the first half of the 20th century are: an artistic rethinking, reminiscences of a similar phenomenon in Western European painting of the late XIX – early XX century. The spread of impressionism contributed to the greatest development of still life and landscape genres, and also brought plein air practice to a new level. Many Chinese artists spread impressionistic ideas not only in artistic creation, but also in art history. The scientific novelty lies in the systematization and factual material analysis on this problem, determining the role of the impressionist trend in the Chinese oil painting development. Practical significance. The results of the study can be used in further studies of the history and theory of Oriental art of the 20th century.
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Abdokova, Marina B. "Portrait and landscape in Boris Zaitsev’s publicistic writings: style and ethos." RUDN Journal of Studies in Literature and Journalism 25, no. 1 (December 15, 2020): 17–32. http://dx.doi.org/10.22363/2312-9220-2020-25-1-17-32.

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The article represents genre-style etymology of Boris Konstantinovich Zaitsev (1881-1972) publicistic legacy (that includes essays, profiles and critical notes). Style-forming expressions of this outstanding representative of 20th century Russian literary abroad are analyzed within the context of his ethical and philosophical principles. Zaitsev’s portrait and landscape sketches are considered for the first time as figurative-poetic and genre-compositional components of the artist's “visual palette”. One of the effective methods of comprehending the style and ethos of the writer is the disclosure of multi-genre subtexts that reflects the creative worldview of B. Zaitsev, in which aesthetics is closely intertwined with metaphysics, and this, in turn, determines the adjacent disciplinary tools for the study of “literary painting”, actualizes parallels with non-verbal art forms (painting, music). The intertextual phenomenology of B. Zaitsev's publicistic texts is not limited to the artful, masterly and technical depiction. The nature of refined subject-figurative “painting”, as follows from the analysis, is based on the spiritual contemplation of the writer and reflects a rare for the art of the 20th century harmony of the artistic and transcendent.
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Nikolovskaya, Yulia Vasilievna, and Galina Olegovna Semeyskaya. "Image and Style in a Modern Landscape Painting." Человек и культура, no. 6 (June 2022): 78–89. http://dx.doi.org/10.25136/2409-8744.2022.6.39496.

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The subject of research in this article is a description of a number of creative formalist approaches to modern landscape painting, which are born under the influence of rethinking the leading stylistic trends of the 20th century by artists. Approaches in the landscape genre are analyzed, which are based on the study of world experience and the artistic heritage of different countries, as well as the principles of academicism. Particular attention is paid to analyzing specific examples of modern landscape practice. Also, it is extremely important to characterize the plots and images of paintings, variations of the artistic language that are used in visualization. The main conclusions of the study of the topic is a detailed disclosure of the concept of "image" of landscape painting. There is also a distinction between the concept of style in art into a stylistic direction, considered in a narrow sense, and a historical style, considered more broadly. The author's special contribution to the study of the topic is that in modern landscape painting the formalistic approach can become one of the structural components of a new style in art, if this is accompanied by appropriate factors. The form in this perspective is precisely the link that the creator lacks to create a full-fledged creative image that has developed in his imagination.
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Balik, Gökhan, and Deniz Balık Lökçe. "On the Relationship of Landscape and Painting." AM Journal of Art and Media Studies, no. 19 (September 15, 2019): 29. http://dx.doi.org/10.25038/am.v0i19.305.

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This paper intends to sketch out how the understanding of landscape has changed today, using painting as an interpretative tool. As this paper argues, the contemporary sense of landscape is considered through historical, political, social, cultural, and aesthetic facets. Differentiating from the Kantian notion of landscape as an aesthetic category in the domain of visual arts, it has achieved multiple layers of meaning, rather than only referring to gardens and agricultural areas. The extent of the landscape began to change in the 19th century due to industrialization, exploration of new territories, and the development of technology, botany, and geography. Since the 20th century, the concept has also included immaterial constituents in addition to technological, cultural, and social developments. It has become a social construct as an expression of ideas, memories, imagination, and feelings. Pointing to an active and flowing system, rather than a static and visual one, today, the landscape is grasped as an interdisciplinary and collaborative production. It defies distinct urban zonings and proposes ambiguity, vagueness, and contradiction, as it expands the issue through the concepts of anti-landscape and non-landscape. Anti-landscape indicates marginalized and unsuccessfully man-modified lands, whereas non-landscape describes unused and neglected lands. This paper traces the shift of landscape as a dynamic force in the recent paintings of the contemporary Turkish artist, Yıldız Arun. Her works in landscape, anti-landscape, and non-landscape reflect immateriality and immanence as a dynamic and interactive system. In her paintings, the landscape emerges as an affective field of an internal order with a capacity to transmit affects and sensations in Deleuzian sense. It becomes a force field, which flows into a multiplicity of intensities, revealed by layers of colors, lines, and brush strokes. The juxtaposition of spirituality and materiality turns her canvases into generative fields of multiple encounters affected by each stroke. As this paper shows, the landscape does not point to a pre-defined, extrinsic, static, and visual area, but a force field in flux, with a capacity to produce potentials, reciprocal relations, and immanent affects.Article received: April 17, 2019; Article accepted: June 23, 2019; Published online: September 15, 2019; Original scholarly paperHow to cite this article: Balik Gökhan, Deniz Balık Lökçe. "On the Relationship of Landscape and Painting." AM Journal of Art and Media Studies 19 (2019): 29-44. doi: 10.25038/am.v0i19.305
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Shtolder, Natalia V. "A New Synthesis in the Landscape Painting by Arkhip Kuindzhi and Ferdinand Hodler." Observatory of Culture 17, no. 1 (February 27, 2020): 61–73. http://dx.doi.org/10.25281/2072-3156-2020-17-1-61-73.

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The article provides a comparative analysis of the landscape painting of the Russian artist Arkhip Kuindzhi (1842—1910) and the Swiss artist Ferdinand Hodler (1953—1918). In the field of Euro­pean landscape painting of the 19th-20th centuries, these outstanding masters are noted both as aca­demic figures and as innovators. The cosmic vision of the Universe, the emotional perception of nature and high pictorial skill, as well as the passionate service to art, in many ways unite the creative works of A. Kuindzhi and F. Hodler. For the first time, Russian science takes such a view on the study of their work. By applying the formal-stylistic analysis and the iconographic method, it is revealed that there is a certain synchronicity in their movement from realism to synthetic images of nature in their evolutionary development. In their mature and later works, the realistic, romantic, symbolic features are intertwined in various syntheses. In their spacing solutions, the ornamentalism of Hodler is comparable to the decorativism of Kuindzhi. The artists intersect in the iconographic aspect, addressing to similar motifs, for example: a single tree, a group of trees, mountain peaks, sunsets. The artists’ works are comparable in terms of generalization, selection and application of rhythm in the organization of painting composition. There are ideas of the sublime and the “planetary” of the Universe in the landscapes of A. Kuindzhi and F. Hodler. The artists’ goal to create a genera­lized image of nature is correlated with the movement to a symbol. This comparative analysis is some kind of a bridge between Russian and Swiss cultures, and it confirms the idea that Kuindzhi and Hodler crea­ted the landscapes-ideas in which there were both a subjective vision of the Universe and an innovative painting form of images of nature. Their works influenced the development of European landscape painting in the 20th century.
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Zavadska, Galina, and Ilona Bagele. "THE SYNTHESIS OF PAINTING AND MUSIC: WASSILY KANDINSKY – ALFRED SCHNITTKE." SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 4 (May 28, 2021): 727–34. http://dx.doi.org/10.17770/sie2021vol4.6190.

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The interaction between colors and sounds, music and painting has existed long since. Throughout the centuries these two kinds of art have been developing simultaneously and in close contact with each other, besides. Composers, especially those of the 20th century, find in the sphere of painting images for their musical compositions, without trying to depict definite plot lines or specific landscape sketches. The paper analyzes a specific composition by Alfred Schnittke – Wassily Kandinsky – The Yellow Sound. Research aim: to investigate the features of musical implementation of W. Kandinsky’s ideas by Alfred Schnittke on the basis of a comparative analysis of specific compositions of both authors. Research method: a comparative analysis
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Benkara, Dana Maria. "Restaurarea picturii Peisaj cu biserică, de Ștefan Popescu." Anuarul Muzeului Etnograif al Transilvaniei 30 (December 20, 2016): 267–77. http://dx.doi.org/10.47802/amet.2016.30.14.

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The paper presents some important aspects of the restoration- conservation process of a painted canvas, belonging to Ştefan Popescu, a romanian painter, whose creation, at the beginning of the 20th century, was famous especially through its landscapes. Stylistic and technological aspects of the painting were analyzed. The painting depicts a realistic landscape, with a house and an imposing stone church. A detailed account of the conservation state of the painting prior the restoration was made. The actual restoration process started with the cleaning of the superficial dirt and dust from the back of the painting. After protecting the entire face of the painting (by applying the Japanese paper), the old patch on the back of the painting (covering a small area of torn canvas) was replaced with a new one. The cleaning process (the removal of the light dirt and the old varnish layer) was followed by the filling of all the gaps of the painted layer with putty. The chromatic integration and the final varnishing ended the restoration process of the painted canvas.
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Colta, Ioan Paul. "The Conservation of a Painting. Case Study: Cornel Minişan, “Landscape from Caransebeş” (Oil on Canvas, 20th Century)." Procedia Chemistry 8 (2013): 72–77. http://dx.doi.org/10.1016/j.proche.2013.03.010.

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Aguilar-Rodríguez, Pablo, Sandra Zetina, Adrián Mejía-González, and Nuria Esturau-Escofet. "Microanalytical Characterization of an Innovative Modern Mural Painting Technique by SEM-EDS, NMR and Micro-ATR-FTIR among Others." Molecules 28, no. 2 (January 5, 2023): 564. http://dx.doi.org/10.3390/molecules28020564.

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During the 20th century, modern painters experimented with different mediums and painting techniques, one of them was Rafael Coronel in his mural painting, Paisaje Abstracto (Abstract landscape). The painting was created with a peculiar pouring technique and an unknown binding medium; ageing produced fractures and severe conservation problems. Therefore, the characterization of the painting medium became an urgent matter in order to understand the current condition of the painting and to develop a proper treatment. The aim of this research was to characterize the chemical composition and painting technique of Paisaje Abstracto. To approach this goal two microsamples were taken and analyzed by optical microscopy (OM), scanning electron microscopy (SEM) with energy dispersive spectroscopy (EDS), nuclear magnetic resonance (NMR) spectroscopy, attenuated total reflection Fourier transform infrared spectroscopy (ATR-FTIR), micro attenuated total reflection Fourier transform infrared spectroscopy (micro-ATR-FTIR) and gas chromatography/mass spectrometry (GC/MS). The analysis allowed for the identification of cadmium sulfide (CdS) and titanium dioxide (TiO2) as inorganic pigments; aluminosilicate fillers; poly(methyl methacrylate) (pMMA) as a binder; MMA monomer, red organic pigment PR181; benzoyl peroxide, dibutyl phthalate and 1-octadecanol as organic additives. This study presents an innovative painting technique with pMMA, a medium not commonly used by artists, which was probably polymerized onto the painting support.
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Dissertations / Theses on the topic "Landscape painting, Australian 20th century"

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Hattam, Katherine, and katherine hattam@deakin edu au. "Art and Oedipus." Deakin University. School of Communication and Creative Arts, 2003. http://tux.lib.deakin.edu.au./adt-VDU/public/adt-VDU20070816.121927.

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Millward, William H., University of Western Sydney, and of Performance Fine Arts and Design Faculty. "Beneath the surface : the role of intuition in the creative process." THESIS_FPFAD_XXX_Millward_W.xml, 1998. http://handle.uws.edu.au:8081/1959.7/308.

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One question raised when creating, evaluating and appraising art work is 'How do we know what we know?' This exegesis attempts to answer this by establishing the important role intuitive knowledge plays in decision making in general, and within the author's own art practice specifically. The study reviews some of the literature on intuition from philosophical and psychological perspective in order to validate intuitive knowledge and intuitive decision making within contemporary art practice. However, just because intuition may drive the process, it does not mean that the product of intuitive practice is necessarily good or has any value. Consequently, the importance of aesthetics, and the values of integrity, honesty and truth are explored from a philosophical perspective. These are discussed in relation to the art practice of other artists from this century as well as that of the writer. Having constructed a philosophical framework to work within and be guided by, the final part of this study documents the development of the practical work and how this framework influences the art practice and the outcomes of that practice. It is hoped that the results of the study will reassert the validity and relevance of this form of art practice and philosophy within contemporary art practice.
Master of Arts (Hons) (Visual Art)
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Robb, Charles. "The Self as Subject and Sculpture." Thesis, Monash University, 2008. https://eprints.qut.edu.au/16903/1/16903.pdf.

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This paper analyses and contextualises the artist’s exploration of self-portraiture through the sculptural bust format. Conventionally, the portrait bust epitomises an antiquated view of the human subject as fixed, finite and knowable. The classicistic allusion of the form seems the perfect embodiment of a pre-modern and hopelessly idealised view of subjectivity and its capacity to be represented. This paper will show how, despite these impressions, the portrait bust is in fact a highly volatile sculptural form in which presence and absence are brought into question. When used as a vehicle for self-portraiture the bust yields a spectrum of instability, both literal and metaphoric, that calls into question the clarity of notions of subject and object and challenges the ideas of authority and representation more broadly. By providing an historical overview of the role of the portrait bust, this paper will map the field of content inherent to the portrait bust and discuss its application in contemporary self-portraiture. As the work of Mike Parr, Janine Antoni and Marc Quinn demonstrates, the classical certainty that permeates the bust format can indeed heighten the capacity of the form to represent uncertainty: an ambiguity that makes it a highly potent form for sustained studio investigation and experimentation. This paper will provide an overview of this experimental scope and application, by discussing the author’s process of sculptural self-portraiture in relation to aspects of ‘likeness’, expression, truncation and reproduction that occur in the form.
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Blakeley-Carroll, Grace. "Illuminating the spiritual : the symbolic art of Christian Waller." Phd thesis, Canberra, ACT : The Australian National University, 2017. http://hdl.handle.net/1885/146396.

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Australian artist Christian Waller nee Yandell (1894-1954) created artworks that unified her aesthetic and spiritual values. The technical and expressive brilliance of her work across a range of art media - drawing, painting, illustration, printmaking, stained glass and mosaic - makes it worthy of focused scholarly attention. Important influences on her practice included Pre-Raphaelitism, Art Deco and the Celtic Revival. Her spirituality was informed by a range of orthodox and alternative systems of belief, including: Christianity, Theosophy, the Hermetic Order of the Golden Dawn and the international Peace Mission Movement. Acting as an emissary, she included personal symbols - especially the sun, the moon, stars and flowers - in her artworks to encourage spiritual contemplation. In this thesis, I argue that Waller harnessed the decorative and expressive potential of these movements - along with a commitment to Arts and Crafts values - to develop a personal set of symbols that expressed her sense of the spiritual. This encompassed the harmony of word, image and message, which underscored her work. It is for this reason that I locate Waller within the international discourse of spiritual art. Despite her remarkable talents across media and the distinctive quality of her art, Waller has always occupied a peripheral position within Australian art and art history. Even when she is included in significant books and exhibitions, most often it is in relation to her hand-printed book 'The Great Breath: A Book of Seven Designs' (1932) and her relationship with her husband, fellow artist Napier Waller. Key aims of this thesis are to highlight the breadth and depth of Waller's art practice and to demonstrate that she made important contributions to Australian art and to art that addresses the sacred.This thesis introduces a number of Waller's artworks, stories and personal ephemera into scholarship, making a comprehensive study of the artist possible for the first time. It makes a major contribution to scholarship on the artist, especially in relation to the spiritual values that underpinned her practice, as expressed in the key symbols that are identified. By extension, it contributes a more nuanced understanding of art produced between the First and Second World Wars to Australian art history and to scholarship on art that addresses the sacred.
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Eastburn, Melanie. "The living specimen : Guan Wei : a Chinese-Australian artist." Thesis, 1997. http://hdl.handle.net/1885/258500.

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This thesis focuses on the work and experience of Guan Wei. Guan Wei is a Chinese born artist now living and working in Australia. He is one of a number of mainland Chinese who came to live in Australia in the late 1989s and early 1990s. While there are certain commonalities between the experiences of these artists, I have concentrated on Guan Wei not merely as a case study for recent emigre Chinese artists in Australia, but because of his prominent place in Australian contemporary art.
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De, Menezes Clinton. "Terra firma : contemporary representations of the South African landscape." Thesis, 2004. http://hdl.handle.net/10321/1925.

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Dissertation submitted in partial compliance with the requirements for the Master's Degree in Technology: Fine Art, Durban Institute of Technology, 2004.
This research aims to critically investigate the changing colonial and post-colonial attitudes towards the South African landscape, as physical space and its representation, through a post-colonial and Post-Modern critique. Chapter One explores the shifting colonial attitudes toward the landscape from the middle of the eighteenth century to the middle of the twentieth century, to provide an historical overview and context for contemporary practice. Section One defines colonialism for the purposes of this study and provides a brief history of colonialism in South Africa. Section Two provides a concise history of European visual representation from the middle of the eighteenth century to the middle of the twentieth century in order to contextualize the development of South African landscape painting. Section Three analyzes and evaluates changing colonial attitudes and their representation through a discussion of the work of Francois Le Vaillant (1753-1842), Thomas Baines (1820-1875) and J.H. Pierneef (1886-1957). Chapter Two explores attitudes towards the South African landscape between 1948 and 1994 in order to provide a link between colonial representation and post-colonial contemporary practice.
M
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"傳統的復興: 吳湖帆(1894-1968)山水畫研究." 2002. http://library.cuhk.edu.hk/record=b5896059.

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陳蓓.
"2002年12月".
論文(哲學碩士)--香港中文大學, 2002.
參考文獻 (leaves 256-273).
附中英文摘要.
"2002 nian 12 yue".
Chen Bei.
Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2002.
Can kao wen xian (leaves 256-273).
Fu Zhong Ying wen zhai yao.
論文提要 --- p.i
圖版目錄 --- p.vii
緒論 --- p.1
Chapter 第一章 --- 生平及藝術活動 --- p.8
Chapter 第一節 --- 蘇州時期（1894-1924) --- p.8
Chapter 一、 --- 家學淵源 --- p.8
Chapter 二、 --- 從私塾到學堂 --- p.12
Chapter 三、 --- 望族結合 --- p.14
Chapter 第二節 --- 藝壇地位的確立(1924-1949) --- p.15
Chapter 一、 --- 藝術活動與交遊 --- p.16
Chapter 二、 --- 收藏與鑑定 --- p.21
Chapter 三、 --- 藝術教育 --- p.24
Chapter 第三節 --- 藝壇地位的下沉（1949-1968 ) --- p.28
Chapter 一、 --- 文藝方針 --- p.28
Chapter 二、 --- 藝術活動 --- p.33
Chapter 三、 --- 政治運動 --- p.38
Chapter 第二章 --- 藝術歷程´ؤ´ؤ山水畫分期 --- p.54
Chapter 第一期 --- 兼收並蓄（一九一零年代至二十年代中期） --- p.55
Chapter 一、 --- 清末民初藝術潮流 --- p.55
Chapter 二、 --- 師承江南山水畫傳統 --- p.58
Chapter 第二期 --- 追綜正統（二十年代中期至三十年代中期） --- p.60
Chapter 一、 --- 追宗董其昌 --- p.62
Chapter 二、 --- 上溯元四家 --- p.63
Chapter 第三期 --- 南北融合（三十年代中期至五十年代） --- p.65
Chapter 一、 --- 初探北宗 --- p.66
Chapter 二、 --- 南北結合、借古開今 --- p.67
Chapter 第四期 --- 政治藝術（五十年代以後） --- p.70
Chapter 一、 --- 集古的延續 --- p.71
Chapter 二、 --- “標準´ح藝術 --- p.72
Chapter 第三章 --- 吳湖帆山水畫的特色 --- p.80
Chapter 第一節 --- 筆筆入古 --- p.81
Chapter 一、 --- 山水畫“仿古´ح的傳統 --- p.81
Chapter 二、 --- 母題的運用 --- p.83
Chapter 三、 --- 筆法的結合 --- p.85
Chapter 第二節 --- 色籠墨染 --- p.89
Chapter 一、 --- 設色山水的傳統 --- p.89
Chapter 一、 --- 重現唐宋青綠 --- p.90
Chapter 二、 --- 色墨交融 --- p.92
Chapter 第三節 --- 煙雲供養 --- p.95
Chapter 一、 --- 傳統山水畫中的煙雲 --- p.95
Chapter 二、 --- 煙雲山水 --- p.98
Chapter 第四節 --- 詞意山水 --- p.100
Chapter 一、 --- 詞與畫 --- p.100
Chapter 二、 --- 詞意山水 --- p.101
Chapter 第四章 --- 緊守傳統´ؤ´ؤ吳湖帆的畫學思想 --- p.112
Chapter 第一節 --- 傳統文化的守護 --- p.112
Chapter 一、 --- 傳統文化的守護 --- p.112
Chapter 二、 --- 傳統藝術的守護 --- p.116
Chapter 第二節 --- 吳湖帆的畫學思想 --- p.120
Chapter 一、 --- 畫史觀 --- p.121
Chapter i. --- 追本溯源 --- p.121
Chapter ii. --- 正統觀念 --- p.124
Chapter iii. --- 南北宗論 --- p.125
Chapter iv. --- 文人畫觀 --- p.128
Chapter 二、 --- 創作觀 --- p.132
Chapter i. --- 工具、功夫 --- p.132
Chapter ii. --- 緊守系統 --- p.134
Chapter iii. --- 筆精墨妙 --- p.136
Chapter 第三節 --- 對時代藝術潮流的回應 --- p.138
Chapter 一、 --- 檢視傳統的利弊 --- p.139
Chapter 二、 --- 當下畫壇的評論 --- p.141
Chapter 三、 --- 現代中國畫的路向 --- p.143
結語 --- p.150
附錄一吳湖帆生平年表 --- p.159
附錄二吳湖帆山水畫作品著錄 --- p.179
參考書目 --- p.256
圖版第一章圖版 --- p.274
第二章圖版 --- p.280
第三章圖版 --- p.312
結語圖版 --- p.339
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Van, Huyssteen Wessel Hendrick. "How to paint a highway: documenting non-place." Thesis, 2017. https://hdl.handle.net/10539/24519.

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A research report submitted to the Faculty of Humanities, University of the Witwatersrand, Johannesburg, in partial fulfilment of the requirements for the degree of Master of Arts in Fine Arts, 2017
The central question I want to ask in this dissertation is: How to paint a highway? It sounds simple, but considering all that highways represent, the answer is anything but straightforward. The motivation for this study came about due to my travels on the N1 between two of my homes - one in Johannesburg, Gauteng, and the other in Rosendal, eastern Free State. [No abstract provided. Information taken from introduction].
XL2018
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Eriksen-Miller, Louisa. "Landscape as metaphor : the interpretation of selected paintings by (Amy) Bertha Everard." Thesis, 2002. http://hdl.handle.net/10413/3406.

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This dissertation is a study of selected works of the South African landscape painter Amy Bertha Everard (l 873-1965) with the emphasis on discovering relevant means of interpreting her use of landscape as metaphor. In Chapter One Bertha 's family history and background is traced. This includes developments in her work from the earliest known sketches and paintings, her travels, experiences and artistic training. Chapter Two examines Bertha 's relationships with family and friends, with a section at the end that discusses the candidate 's interpretation of some of the letters that have been made available for this research by the Tatham Art Gallery. This is in order to establish some character traits that may be relevant to the subsequent interpretation of landscape as metaphor in the final chapter. Chapter Three discusses selected paintings with reference to the analysis of their subject matter, composition and technique. Criticism of selected work is made with some reference to Frieda Harmsen 's observations in The Women of Bonnefoi (1980), while some references are made to what appears to be previously undocumented works, discovered during this research. Exhibitions and reception of much of Bertha's work is also covered in this chapter. This is done in order to trace the development of her work within the context of her life experience with regard to her travels and relationships. Chapter Four examines the influences of faith and religion on her life and possibly her art. As a self-appointed Anglican missionary and teacher to labourers on her farms, a great deal of time and energy was spent in this practice. Reference is made to some prevailing religious and social ideologies in southern Africa that may have influenced her activities or that may have been motivating factors in her desire to participate in this field. Chapter Five discusses some of the possible discourses that may have affected Bertha's perception ofart and her decision to pursue this as a career. In the absence of much factual knowledge about the early period of her life in England, it is acknowledged that this interpretation is speculative. A survey of art practices and art institutions in Victorian England is made in an attempt to establish the prevailing conditions in the art world during her youth. Some reference is made to conditions in South Africa that may have influenced Bertha 's perception of art and her decision to pursue this as a career. Chapter Six discusses, in greater detail, aspects of the South African context in which Bertha Everard lived for the greater part of her adult life. A survey is made of the establishment and development of some early art institutions and the people who constituted the art world at that time in South Africa This is in order to discover possible influences on her work and its reception as well as the socio-political and historical context that may have affected her life. As a counterpoint, the work of three of Bertha's contemporary female South African artists - Allerly Glossop, Maggie Laubser and Irma Stem - is discussed. Chapter Seven discusses possible interpretations of landscape as metaphor related to specific paintings. In this chapter, nationalistic and imperialistic ideologies in South Africa are discussed, comparing Bertha's painting with that of R Pierneef, and some possible interpretations of their use of landscape as metaphor. Appendix I comprises two sections . The Summary of Letters is an overview of the letters that were studied for the purpose of this research. Their contents have been divided into sub-headings , related to areas of interest to this research, namely: Bertha's relationship with Edith, Charles, her children and motherhood, relationships (in general) and issues of gender, politics and racism , mission work and faith, landscape and weather, illness, exhibitions and criticism , work and painting. The Everard Letters gives selected quotations from the letters researched, under the same sub-headings. Appendix 2 records an interview with Leonora Everard Haden, by the candidate, in which Everard Haden's written responses are recorded. Volume 2 contains illustrations of most of Bertha 's work that are referred to in the dissertation.
Thesis (M.A.)-University of Natal, Pietermaritzburg, 2002.
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Books on the topic "Landscape painting, Australian 20th century"

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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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Art, Martin Browne Fine. Martin Browne Fine Art: 20th century Australian and New Zealand painting, November 1993. Paddington, NSW: Martin Browne Fine Art, 1993.

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Ishikawa, Tadashi. Kyōdo ga unda nihongaka Ishikawa Tadashi ten: Nihon no shizen, genfūkei o egaku. Kanazawa-shi: Ishikawa Kenritsu Bijutsukan, 2007.

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Cynthia O'Connor Gallery (Dublin, Ireland). Irish landscapes: An exhibition of 18th, 19th and early 20th century country scenes, Wednesday, 1st April until Wednesday, 15th April, 1992 at Cynthia O'Connor & Company Limited, 17 Duke Street,Dublin 2. Dublin: Cynthia O'Connor & Company Ltd., 1992.

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Paul, Nash. Paul Nash: Modern artist, ancient landscape. London: Tate, 2003.

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Institute of Contemporary Arts (London, England), Third Eye Centre, and Orchard Gallery, eds. Imants Tillers: Works, 1978-1988. [London]: Institute of Contemporary Arts, 1988.

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1959-, Hart Deborah, and National Gallery of Australia, eds. Imants Tillers: One world many visions. [Canberra]: National Gallery of Australia, 2006.

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Tillers, Imants. Imants Tillers: One world many visions. Edited by Hart Deborah 1959- and National Gallery of Australia. [Canberra]: National Gallery of Australia, 2006.

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Paul, Nash. Paul Nash: Landscape of the vernal equinox. [Edinburgh]: Trustees of the National Galleries of Scotland, 1987.

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Dutkiewicz, Adam. Alexander Sádlo: Experimental journey : an artist in three countries. Norwood, S. Aust: Moon Arrow Press, 2007.

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Book chapters on the topic "Landscape painting, Australian 20th century"

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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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"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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"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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"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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Bobilewicz, Grażyna. "Obraz Afryki w malarstwie rosyjskim XX i początku XXI wieku." In Afryka i (post)kolonializm. Wydawnictwo Uniwersytetu Łódzkiego, 2016. http://dx.doi.org/10.18778/8088-260-7.07.

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The research on Russian painting of the 20th and the beginning of the 21st century in the context of early and modern African culture/art belongs to the realm of theoretical reflection within such disciplines as cultural geography, anthropology of place and space, cultural and existential experience, geocriticism (painterly depictions of natural and urban space), geopoetics (painterly topography), and is interdisciplinary in nature. The analysis of Russian-African interdisciplinary dialogue in visual representations of Africa, as an aspect of the Russians’ awareness and idea of this continent, requires an answer to the following questions: what attracted Russian artists to Africa and how did it influence Russian culture/art? And the other way round – what did Russians, especially those travelling through Africa, bring to African culture? In Russian painting, which is diverse in terms of genres (landscape, portrait, still life), Africa functions as a nationally, culturally and socially heterogeneous continent. The early and modern African aesthetics/ art is the source of inspiration for iconographic and formal innovations. In iconic texts, visual translation, representation and interpretation of Africa manifests itself at the imagination-related levels: at thematic and motivic, narrative and compositional levels, at the level of a painterly code and in the conceptualization of artistic language. The painterly depiction of Africa, to which each of the Russian artists contributes their own representation types, artefacts, poetics and semantics, is usually created on the basis of the observation of real space, which, transformed in the iconic text, functions in an artistic, aesthetic, ideological and emotional projection. The reflection focuses on the painterly depictions and various representations of Africa which include motifs referring to African culture/art – the effect of ethnographic and artistic travels to various regions of the Dark Continent. The exemplary material selected from albums, Internet exhibitions of Russian paintings and artists’ professional websites has been analysed in terms of iconography (identification of the elements of the represented world and the relations between them), the connection between the title of the work and the visual representation, the formal determinants of the painterly depiction of Africa, and the poetics of reception.
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Conference papers on the topic "Landscape painting, Australian 20th century"

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Shirshova, Lyubov. "Creative Life of Ye. I. Zverkov: Evolution of Landscape Painting in Russia in the Second Half of the 20th Century." In 4th International Conference on Arts, Design and Contemporary Education (ICADCE 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icadce-18.2018.19.

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