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Journal articles on the topic 'Landscape painting History'

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Author: Grafiati

Published: 10 December 2022

Last updated: 29 January 2023

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1

Sanad, Reham, and Zainab Salim Aqil Alhadi Baomar. "A study of landscape painting development – Past, present and future perspectives." New Trends and Issues Proceedings on Humanities and Social Sciences 8, no. 1 (June 4, 2021): 01–11. http://dx.doi.org/10.18844/prosoc.v7i4.5774.

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This study is focused on landscape paintings’ characteristics throughout history. It starts with primitive cave paintings passed through the ancient civilisations, then followed by the main art movements and styles and ends with the contemporary style landscape paintings. Future prospects and expectations for landscape representations were also considered. It was found that landscape representation has been the focus for most artists because of its link to their normal lives. In the primitive caves, illustrations of plants and animals were found covering caves’ walls. Landscape backgrounds were used in the ancient Egyptian civilisation and lost its significance in the Greece style to reappear with the Roman artists with special concern and perspective. The Renaissance era witnessed more progress in landscape paintings’ subjects and perspective. Baroque paintings initiated the focus on independent landscape paintings to be crystalised in the Romantic paintings and later on in the impressionists’ art works using distinctive painting techniques. The modernists approved landscape topic in their paintings to apply their unique techniques, whereas the contemporary landscape paintings have adopted abstract and free methods in employing various materials and colours. It is obvious that the landscape subject has been employed throughout all stages of art history because it is the key segment of their environment and life not only because of its aesthetic values. Realistic landscape representation in visual art and design is expected to progress in abundance in the near and far future as many people due to the pandemic circumstances have been deprived from naturally experiencing landscapes causing mental and health difficulties. Keywords: Prehistoric period, ancient civilisations, Renaissance, Baroque, romantic.

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2

Cohen, Matt. "Making the View from Lookout Mountain: Sectionalism and National Visual Culture." Prospects 25 (October 2000): 269–80. http://dx.doi.org/10.1017/s0361233300000661.

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Recent scholarship in the history of American art has uncovered the deep social, political, and economic context within which specific inividuals invented highly charged (and frequently contested) visions of the American landscape. Drawing attention away from the naturalizing tendency of criticism that emphasizes landscape painting as a reflection of national and transcendental ideals, this kind of analysis has brought new richness to the study of landscapes, weaving political and social history into the criticism of American art. Charting paintings as they function within the constellations of patronage, intellectual history, and reception, these new histories help us understand the cultural work of landscape in the 19th-century United States.

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3

Sun, Jia. "A comparative study on the form and style of landscape painting in the Northern Song Dynasty and Dutch Landscape Painting in the 17th Century." Highlights in Art and Design 1, no. 2 (October 25, 2022): 55–57. http://dx.doi.org/10.54097/hiaad.v1i2.2074.

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In the history of Chinese and European painting, landscape painting in the Northern Song Dynasty and Dutch landscape painting in the 17th century have achieved important artistic achievements. Generally speaking, the meaning of comparison is to compare the commonality, difference and mutual influence of paintings produced in different contexts. The purpose of studying and comparing the differences between the two is to take the painting forms of different countries and nations as reference, so as to have a thorough understanding of the forms and styles of the two arts in different times, different regions and different cultural backgrounds.

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4

Trevisan, Sara. "The Impact of the Netherlandish Landscape Tradition on Poetry and Painting in Early Modern England*." Renaissance Quarterly 66, no. 3 (2013): 866–903. http://dx.doi.org/10.1086/673585.

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AbstractThe relationship between poetry and painting has been one of the most debated issues in the history of criticism. The present article explores this problematic relationship in the context of sixteenth- and seventeenth-century England, taking into account theories of rhetoric, visual perception, and art. It analyzes a rare case in which a specific school of painting directly inspired poetry: in particular, the ways in which the Netherlandish landscape tradition influenced natural descriptions in the poem Poly-Olbion (1612, 1622) by Michael Drayton (1563–1631). Drayton — under the influence of the artistic principles of landscape depiction as explained in Henry Peacham’s art manuals, as well as of direct observation of Dutch and Flemish landscape prints and paintings — successfully managed to render pictorial landscapes into poetry. Through practical examples, this essay will thoroughly demonstrate that rhetoric is capable of emulating pictorial styles in a way that presupposes specialized art-historical knowledge, and that pictorialism can be the complex product as much of poetry and rhetoric as of painting and art-theoretical vocabulary.

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5

Ju, Wanying. "The Research on the Origin and Communication of Blue and Green Colors in Chinese Blue and Green Landscape Painting." Journal of Education, Humanities and Social Sciences 5 (November 23, 2022): 119–25. http://dx.doi.org/10.54097/ehss.v5i.2891.

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Blue and Green landscape painting is an important component of Chinese landscape painting. The purpose of this paper is to explore the origins of blue and green colors in blue and green landscape painting and search for the reasons for the establishment of the blue and green landscape painting's style. Today's many researchers identify the murals of the Dunhuang Mogao Caves as the original form of Chinese Blue and Green Landscape Painting, and the Mogao Caves' painting style was significantly influenced by Indian Buddhist art. This paper employs a research approach that compares the stylistic convergence of early Chinese and Western Buddhist artworks. By combining the study of the trade history of the Silk Road, which helped spread Buddhism, and analyzing the origins of blue and green pigments, this paper finds that the use of blue and green colors showed signs that they spread with Buddhist art. The conclusion is that the earliest blue and green color in Chinese Blue and Green Landscape Painting originated from the Buddhist art in the western part of China and spread with Buddhism to the east China.

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6

Lee, Hewon. "Scrolls of Poem-Paintings by Buddhist Monks of the Late Goryeo and Early Joseon : Records of the “Scrolls of Poems” on the Studio Name and Their Significance." Korean Journal of Art History 315 (September 30, 2022): 39–74. http://dx.doi.org/10.31065/kjah.315.202209.002.

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This article examines written records of the now-lost poem-painting scrolls created by Buddhist monks who were active in the late Goryeo and early Joseon (the fourteenth through fifteenth centuries) in order to reconstruct their artistic exercises and reassess their significance in the history of East Asian art. The literati painters of Yuan China reserved pictorial space in landscape painting for narrative or descriptive purposes. In contrast, the Buddhist monk-painters of the late Goryeo and early Joseon depicted natural features in their landscape paintings, accompanied by poems, as encrypted codes precisely corresponding to the characters of their studio names, or ho 號 (Ch. hao). Yuan’s Shiwu Qinggong 石屋淸珙 (1272~1352), who officially conferred the dharma to Goryeo’s Taego Bou 太古普愚 (1301~1382), proposed “a single thatched hut in the depth of the retreats,” or yi an shenyin 一菴深隱, as exemplary of Chan Buddhist paintings. The written records of the monks’ handscroll paintings suggest that the monks of the late Goryeo and early Joseon painted landscapes by combining the motifs of a thatched hut and of the depth of the retreat with depictions of natural features that signified their studio names. While the monk’s studio name was the central theme of the painting, each character of his name was also rendered pictorially. The records further testify that Goryeo monks played a critical role in introducing to Korea the styles of the Liu Daoquan 劉道權 and Li-Guo 李郭 schools, which gained tremendous traction in the early Joseon art scene, as the literati regarded highly of ink paintings by monks. It has been widely noted that early Joseon paintings contributed to the development of the paintings of a scholar’s studio in Muromachi Japan. The monks’ poempaintings themed on their studio names further attest to the significant impact that early Joseon paintings made over not just the style but also subjects, form, and content of Japanese paintings. Even if many works of premodern Korean painting are now lost, written records about them still survive. Close examinations of such textual sources can help illuminate the historical trajectory of Korean poem-painting scrolls in the context of East Asian art history.

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7

Lee, Byunghwee, Min Kyung Seo, Daniel Kim, In-seob Shin, Maximilian Schich, Hawoong Jeong, and Seung Kee Han. "Dissecting landscape art history with information theory." Proceedings of the National Academy of Sciences 117, no. 43 (October 12, 2020): 26580–90. http://dx.doi.org/10.1073/pnas.2011927117.

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Painting has played a major role in human expression, evolving subject to a complex interplay of representational conventions, social interactions, and a process of historization. From individual qualitative work of art historians emerges a metanarrative that remains difficult to evaluate in its validity regarding emergent macroscopic and underlying microscopic dynamics. The full scope of granular data, the summary statistics, and consequently, also their bias simply lie beyond the cognitive limit of individual qualitative human scholarship. Yet, a more quantitative understanding is still lacking, driven by a lack of data and a persistent dominance of qualitative scholarship in art history. Here, we show that quantitative analyses of creative processes in landscape painting can shed light, provide a systematic verification, and allow for questioning the emerging metanarrative. Using a quasicanonical benchmark dataset of 14,912 landscape paintings, covering a period from the Western renaissance to contemporary art, we systematically analyze the evolution of compositional proportion via a simple yet coherent information-theoretic dissection method that captures iterations of the dominant horizontal and vertical partition directions. Tracing frequency distributions of seemingly preferred compositions across several conceptual dimensions, we find that dominant dissection ratios can serve as a meaningful signature to capture the unique compositional characteristics and systematic evolution of individual artist bodies of work, creation date time spans, and conventional style periods, while concepts of artist nationality remain problematic. Network analyses of individual artists and style periods clarify their rhizomatic confusion while uncovering three distinguished yet nonintuitive supergroups that are meaningfully clustered in time.

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8

Törmä, Minna. "Chinese Landscape Painting as Western Art History." Konsthistorisk Tidskrift/Journal of Art History 80, no. 3 (September 2011): 184–86. http://dx.doi.org/10.1080/00233609.2011.583679.

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9

Malcolm, Annie. "The past at the edge of the future: Landscape painting and contemporary places." Journal of Contemporary Chinese Art 7, no. 2-3 (December 1, 2020): 221–40. http://dx.doi.org/10.1386/jcca_00027_1.

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In this article, I offer an ethnographic account of Wutong Shan, and engage landscape painting as an interpretative device. Wutong Shan represents a unique phenomenon of urban transformation in that its residents cultivate a life harkening back to a rural past in an attempt to build a utopia unfettered by the deafening noise of modernity, which can easily be found down the road in Shenzhen, China’s newest city. Similar to what landscape painters throughout history have created through image, Wutong residents create a world of retreat, escape and natural beauty in a space at the edge of the urban. Both a landscape painting and this ethnographic place are built through a set of creative acts, a sense of self-cultivation, and a desire for escape. In Wutong Shan, the other side of the creative process is a livable environment rather than an art object. One of the ways I read landscape painting to understand Wutong Shan is by thinking with contemporary Chinese art works that, through illusion, revisit the landscape in light of industrial urbanization. I bring together three strains of thinking: (1) my contemporary ethnographic research on Wutong Art Village, (2) understandings of Chinese landscape paintings and their associated conceptions of nature and utopia and (3) contemporary art that renegotiates the landscape form, analysed through the emergent field of eco-art history.

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10

Grusin, R. "Landscape Art and Landscape History: Some Recent Works on North American Landscape Painting." Forest & Conservation History 34, no. 2 (April 1, 1990): 83–84. http://dx.doi.org/10.2307/3983863.

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11

Knight, Lynne. "A Brief History of Landscape Painting, and: Forbidden." Prairie Schooner 90, no. 1 (2016): 64–66. http://dx.doi.org/10.1353/psg.2016.0219.

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12

Ma, Xinquan, Xiaofang Yao, and Kwon Hwan. "Interpretation of Li Gonglin Ecological View of Landscape Painting Based on Chinese Soil Smoke Culture." Tobacco Regulatory Science 7, no. 5 (September 30, 2021): 3344–51. http://dx.doi.org/10.18001/trs.7.5.1.109.

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Objectives: Cigarettes are not goods that have existed in China since ancient times, but consumer goods that were introduced into China by western countries and accepted and developed by Chinese people in modern times. The application of Chinese soil smoke culture in Li gonglin’s landscape painting is studied in this paper. Methods: From the perspective of art history, landscape painters in the Northern Song Dynasty, as a prosperous period of Chinese art history landscape painting, thought deeply about painting from the artistic form of nature, and integrated their own view of environment into their creation, forming many landscape aesthetic paradigms. Results: This paper focuses on the interactive dialogue between the literati and the environment with the involvement of how space planning and governance are allocated. It is aimed at the global perspective in the Anthropocene and a local position in the Northern Song Dynasty. Localization is not only the exploration of the ecological approaches of China and the West in space, but also the integration of the past and the present, observing its ecological image from the perception and practice of traditional environmental aesthetics to the harmonious coexistence of modern cities and nature. Conclusion: Local tobacco is not a traditional local consumer product. Under the public’s praise, it has gradually formed a unique thing in China - cigarette culture. People in the society are not only the observers of the environment, but also the participants of the environment. Through the aesthetic configuration of the classification of environmental belonging space and the transformation of the image and vision into such realistic or ideal landscapes as “Longmian Villa”, it goes towards ecological holism. Therefore, from the perspective of environmental aesthetics research, Li Gonglin’s paintings have research value.

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13

Law, Sophia Suk-mun. "Beingin Traditional Chinese Landscape Painting." Journal of Intercultural Studies 32, no. 4 (August 2011): 369–82. http://dx.doi.org/10.1080/07256868.2011.584615.

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14

Duan, Lian. "The Peircean order of signification and its encoding system in Chinese landscape painting." Semiotica 2018, no. 221 (March 26, 2018): 199–218. http://dx.doi.org/10.1515/sem-2015-0032.

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AbstractApplying Peirce’s semiotics to the study of art history, this essay explores the order of signification in the Peircean theory and the visual order in Chinese landscape painting. Since the purpose of Chinese landscape painting is not simply to represent the beauty of scenery but to encode and manifest the philosophy of Tao, then, the author argues that the establishment of the encoding mechanism in Chinese landscape painting signifies the origination, development, and establishment of this genre in Chinese art history. In this essay, the Peircean order of signification is described as a T-shaped structure, consisting of a horizontal dimension of signs (icon, index, and symbol) while and a vertical dimension of the signification process (representamen, interpretant, and object). Correspondingly, the visual order in Chinese landscape painting is also described as a T-shaped structure as well: the horizontal dimension at the formal level consists of three signs (mountain path, flowing water, and floating air, the three constitute a compound sign), while the vertical dimension at the ideological level consists of three concepts (the way in nature, the metaphysical Way of nature, and the Tao). The significance of this order is found in re-interpreting the formation of landscape painting in Chinese art history.

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15

Gutareva, Julia. "New Forms of Korean Landscape Painting: Barcoded Landscape by Oh Hyun-Yong." Oriental Courier, no. 3 (2022): 188. http://dx.doi.org/10.18254/s268684310023762-6.

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The article focuses on the landscape art of the South Korean artist Oh Hyun-yong (b. 1949) proposing an original approach to adapting the artistic traditions of Korean landscape painting sansuhwa (“mountain-water”) by using the technology of our time — the visual symbol of the bar code. The purpose of the article is to study the distinctive features of the master’s creative method, in which, while using new expressive means, one can observe the preservation of high spiritual ideality inherent in the traditional Korean landscape, which undoubtedly constitutes the most important specific feature of Korean sansuhwa painting — increased attention to the philosophical and aesthetic aspect of landscape art which was considered as an integral and largely determining part of the artistic process. The research is based on the principle of an integrated approach to the problem stated in the theme of the report. In addition to a systematic analysis, an art history approach is used which combines elements of typological comparisons of various discoveries of Oh Hyun-yong with stylistic and comparative analysis of selected landscape paintings of famous Korean artists of the past era, such as Jeong Seon (1676–1759), Kim Hongdo (1745–1806?), Kim Gyujin (1868–1933) and others. Analyzing Oh Hyun-yong’s landscape works, called “bar-coded landscape” by South Korean critics, which represent a creative reinterpretation of artistic traditions while following the innovations of our time, their role and significance in the contemporary art of the Republic of Korea is determined. The author makes a conclusion about the originality of Oh Hyun-yong’s landscape art that represents the aspiration to technology and the reflection of the problems of the modern world, based on the artistic principles inherent in the traditional painting of sansuhwa which contributes to the revival of the aesthetics of the Korean landscape in the new art forms of modernity.

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Mitchell, W. J. T. "Reframing Landscape." ARTMargins 10, no. 1 (February 2021): 14–19. http://dx.doi.org/10.1162/artm_a_00281.

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Abstract “Reframing Landscape” explores three distinct landscapes that have been decisively impacted by conquest and colonization, reframed by three artistic interventions: painting, photography, and sculpture. August Earle shows us the de-forested landscape of 19th century New Zealand, still guarded by a Maori totem; Miki Kratsman photographs a wall mural in occupied Palestine that erases the presence of indigeneous people; and Antony Gormley anticipates the clearing of Manhattan by a pandemic in whirlwind of metal. Real spaces and places are converted into landscapes of attention into what has been lost and what is to come.

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17

Yingchun, Zang. "A view from China: Reflecting back on James Elkins’ Chinese Landscape Painting." Journal of Contemporary Painting 6, no. 1-2 (October 1, 2020): 49–54. http://dx.doi.org/10.1386/jcp_00013_1.

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In this article, the author, a scholar based in China, reflects on James Elkins’ book Chinese Landscape Painting. She notes that the development of Chinese art has a complete history. As a cultural system that has grown and developed in a long and relatively isolated state, it has formed a unique philosophical aesthetic thought and a unique form of artistic expression. Chinese landscape painting is a part of this complex and rich cultural system, and it would be meaningless to discuss Chinese landscape painting in isolation from this ever-changing cultural ecology.

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Elkins, James. "The endgame, and the Qing eclipse1." Journal of Contemporary Painting 6, no. 1-2 (October 1, 2020): 23–48. http://dx.doi.org/10.1386/jcp_00012_7.

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Presented as an archival text for the Journal of Contemporary Painting, James Elkins’ ‘The endgame, and the Qing eclipse’ is an abridged version of the the final chapter of a book-length study, Chinese Landscape Painting as Western Art History (Hong Kong University Press, 2010). Elkins demonstrates the unusual structure of the history of Chinese painting, whereby the Ming decline and Qing eclipse have no real parallels in the West. Yet, as a counter-hypothesis, he argues that Late Ming and Qing artists appear to art history as a form of postmodernism. In itself, this represents a nuanced reading of the temporalities of modern and postmodern periods (which challenges comparative approaches and indeed the fundamental structures of western art history). Crucially, the account provides ways of thinking about how Chinese landscape painting is viewed through the lens of art history, a discipline that Elkins claims is partly, but finally and decisively, western.

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19

Fox, William L. "Terra Antarctica: a history of cognition and landscape." Archives of Natural History 32, no. 2 (October 2005): 192–206. http://dx.doi.org/10.3366/anh.2005.32.2.192.

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The evolution of our perception of the Antarctic from an unknown space to a comprehensible place can be traced through the evolution of its portrayal in visual art. Early expedition artists relied upon the topographically-based aesthetic traditions of northern European landscape painting as the polar region was first charted, and the continent's outlines were traced in coastal profiles during the late eighteenth through mid-nineteenth centuries. This pragmatic approach with its close ties to cartographic needs was later superseded by increasingly symbolic depictions of the environment. The artists accompanying Scott, Shackleton and Mawson, for example, often portrayed the Antarctic as an historic stage for heroic action. With the International Geophysical Year in 1957–1958, modernist aesthetics reached the continent. Visiting artists sponsored by national programs began to abstract the environment in photography and painting. By the turn of the century, sculptors and installation artists had helped bring the Antarctic more fully into the international cultural arena as a subject for contemporary art. This aesthetic shift is both a symptom of, and part of the process for, the transformation of a terra incognita into a terra Antarctica.

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20

Yin, Xiaoke. "A Comparative Study on the Spatial Consciousness of Traditional Paintings in the East and the West." Journal of Contemporary Educational Research 5, no. 7 (July 29, 2021): 45–50. http://dx.doi.org/10.26689/jcer.v5i7.2354.

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This article compares and analyzes the development history, ideological culture, and philosophical concepts of traditional paintings, landscape paintings, and still life paintings in the East and the West. The essence of painting is a form of visual consciousness. There is a unique way of processing and expressing spatial consciousness in different images, regions, and humanistic spirits of Eastern and Western paintings. The difference in spatial awareness promotes mutual learning, guidance, and promotion between the Chinese and Western art which have different historical backgrounds, aesthetic concepts, and national customs. Therefore, different ways of paintings would also have differences in the spatial consciousness of the paintings.

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21

Bonța, Claudia M. "Dinamica dintre portret și peisaj în secolul al XVIII-lea. Studiu de caz: Portret de Femeie de Johann Martin Stock." Studia Universitatis Babeș-Bolyai Historia Artium 66, no. 1 (December 30, 2021): 27–42. http://dx.doi.org/10.24193/subbhistart.2021.02.

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"The Second Half of the 18th Century Highlights a New Fashion in Painting, the Portrait in Landscape that Combines the Portrait and the Landscape. The long series of female portraits arouse admiration and are imitated all over Europe. The Transylvanian space joins the new artistic trend, and we owe some spectacular achievements in this field to one of the most famous painters of the genre, Johann Martin Stock. The National Museum of History of Transylvania shelters in its collections a compositional portrait signed by Johann Martin Stock, Portrait of a Woman, 1787, a remarkable success of the 18th century local painting. Keywords: portrait, rococo, landscape, 18th century painting, Johann Martin Stock. "

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Śnieżyńska-Stolot, Ewa. "Maksymilian Cercha malarz Tatr. Z cyklu „Zapomniani mieszkańcy Krakowa”." Rocznik Biblioteki Naukowej PAU i PAN 65 (2020): 131–39. http://dx.doi.org/10.4467/25440500rbn.20.009.14168.

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Maksymilian Cercha a Painter of the Tatras. From the “Forgotten Citizens of Kraków” Series Maksymilian Cercha (1818–1907), whose life was linked to Kraków, was born in an assimilated Italian family and is known as a drawer, cataloguer of gravestones in the churches of Kraków and a co-author of a publication titled the Monuments of Kraków. In this paper however, his Tatra-themed paintings are discussed, which are yet to be included in the Art History. Cercha was Jan Nepomucen Głowacki’s student, who established Tatra mountains themed landscape painting in Kraków. In the summertime, he used to take his students to the Tatra mountains where he would rent an inn in Stare Kościelisko for an atelier. Cercha painted his Tatra landscapes in the period from 1849 to 1860. These are: –– Morskie Oko, oil on cardboard (31 x 23 cm), 1849; –– View from Mała Łąka, oil on canvas (38 x 31 cm), 1853; –– Mill in Chochołów, oil on cardboard (22 x 28 cm), 1853; –– Sucha Woda Valley as seen from Brzeziny, oil on cardboard (32 x 26 cm), 1857; –– View of the Giewont mountain, oil on cardboard (23 x 30 cm), c. 1860; –– “Carpathians”, watercolour (22 x 14), 1860. Except View from Mała Łąka, held by the Tatra Museum in Zakopane, all pictures belong to the family. Moreover, there are three pencil on paper drawings depicting Zakopane and Hamry from the period of 1855–1857 held by the National Museum in Kraków. Cercha, modelling on Głowacki, used to oil paint on cardboard by firstly sketching on location and then finishing the picture back in Kraków. He used to replicate the themes drew out by Głowacki, such as the view of Morskie Oko lake. He continued the Cracovian tradition of Tatra landscape painting, whic, thanks to Głowacki, Franz Steinfeld the Younger’s student, derives from the Austrian landscape painting of Biedermeier period.

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Lenman, R. "Art and Science in German Landscape Painting 1770-1840." German History 14, no. 3 (July 1, 1996): 393. http://dx.doi.org/10.1093/gh/14.3.393.

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Procop, Natalia. "Recreational Centers in Chisinau in the Vision of Visual Artists." Supplement 9, no. 1 (July 24, 2021): 116–29. http://dx.doi.org/10.37710/plural.v9i1s_8.

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One of the genres of easel painting that remains less pretentious to politics is landscape. The city of Chisinau, one of the most important cities of the Republic, was and remains a source of inspiration for artists Eugenia Gamburd, Rostislav Ocușco, Mihail Petric, Filimon Hămuraru, Ludmila Țonceva, Vasile Toma, Inesa Țîpina, Petru Jireghea, Ion Jumatii, Ion Chitoroagă, Florentin Leancă and others. That is one of the topics addressed by artists reflecting moments of relaxation, rest, sports - recreational centres (parks, lakes, stadiums etc.). This article analyzes the paintings from the collection of the National Museum of Art of Moldova, but also the private collections of plastic artists concerning the rest areas of Chisinau. These paintings made on the subject under research can be attributed not only to the landscape genre but also, in some cases, to genre painting. The subject becomes current for painters with the arrangement of the capital’s parks: The square of the Ensemble of the Metropolitan Cathedral of Chisinau, the Public Garden of Chisinau, the Botanical Garden, the Valley of Roses park, the Valley of Mills park, the Ghidighici Reservoir, the Dinamo Stadium etc.

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Adams, Ann Jensen, and Peter C. Sutton. "Masters of Dutch 17th-Century Landscape Painting." Art Bulletin 74, no. 2 (June 1992): 334. http://dx.doi.org/10.2307/3045877.

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Tello, Veronica. "Counter-Memory, Heterochronia, and “History Painting” (After Géricault): Dierk Schmidt’s SIEV-X—On a Case of Intensified Refugee Politics." Contemporaneity: Historical Presence in Visual Culture 3 (June 5, 2014): 21–37. http://dx.doi.org/10.5195/contemp.2014.106.

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This essay examines the disruption of linear time in experimental forms of “history painting” as represented by Dierk Schmidt’s SIEV-X—On a Case of Intensified Refugee Politics (2001-2005). It analyses how the aesthetics of heterochronoia—multiple temporalities—play a crucial role in the development of a new understanding of the politics of “history painting.” As Schmidt’s work reveals, a radical conception of history exists outside the “singular moment,” and in dialogue with heterogenous visual cultures (news media, art history, advertising). In attempting to understand the import of Schmidt’s work, this essay considers his methodologies for creating a heterochronous mode of history painting, particularly his anachronistic engagement with the work of Theodore Géricault and the iconic history painting, The Raft of the Medusa. Unlike previous critical responses to Schmidt’s work, this paper argues that (after Géricault) the artist’s use of investigative “journalistic” methodologies for SIEV-X—On a Case of Intensified Refugee Politics do not generate an aesthetics of exposé but rather an aesthetics of “fictionalization.” This aesthetic is defined by the recalibration of documentary and speculative data as a means to reconceive the landscape of the perceptual. The findings of this research demonstrate that the use of disparate fragments—or data—to visualize otherwise diminishing historical events underpins contemporary history painting’s capacity for advancing a distinct economy of affect that circumvents the limitations of the news media and its “monopoly on reality.”

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AOKI, Yoji. "Evolution of Landscape Appreciation in the History of Landscape Painting and in the First Rememberance of Landscape." Journal of the Japanese Institute of Landscape Architecture 63, no. 5 (1999): 371–74. http://dx.doi.org/10.5632/jila.63.371.

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28

Shepherd, Penelope. "Social ‘Under-painting’ in 15th-century landscape depictions." Landscape History 43, no. 1 (January 2, 2022): 27–46. http://dx.doi.org/10.1080/01433768.2022.2064117.

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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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Smyslova, Olga N. "On “Real Truth” and “Higher Truth” in the Art Criticism of F. M. Dostoevsky." Two centuries of the Russian classics 3, no. 4 (2021): 114–29. http://dx.doi.org/10.22455/2686-7494-2021-3-4-114-129.

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The article deals with the art reviews of F. M. Dostoevsky. Based on the analysis of the articles “Exhibition at the Academy of Arts for 1860–61” and “About the Exhibition” published in “A Writer’s Diary” for 1873, the aesthetic criteria for Dostoevsky’s assessment of genre, historical, portrait and landscape Russian painting are determined. The author of the article reveals the most important criteria outlined by Dostoevsky: the expression of the author’s ideal that distinguishes a painting from mirror reflection and photography; the artist’s independence from direction, excessive naturalness, theatricality and “excessive showiness”. Particular attention is paid to Dostoevsky’s analysis of paintings by V. N. Jacobi, V. G. Perov, V. E. Makovsky, N. G. Sсhilder, M. P. Klodt, I. E. Repin, A. I. Kuindzhi, N. N. Ge, whose work aroused genuine interest of the writer and prompted reflections on artistic truth in art. The characters of the paintings as presented by Dostoevsky come to life, acquire a “history of feelings”, a psychological appearance and a voice. The work distinguishes between such concepts used by Dostoevsky to analyze contemporary painting for the writer in the light of “realism in the highest sense”, such as “natural truth”, “real truth”, “stage truth”, “artistic truth”, “higher truth”.

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Khairulina, A. V. "ON THE METHODS OF O. N. LOSHAKOV IN TEACHING EASEL PAINTING From his experience at the Vladivostok Art School in 1960–1962." Arts education and science 1, no. 3 (2021): 16–21. http://dx.doi.org/10.36871/hon.202103002.

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The article explores the first pedagogical experience of Academician of the Russian Academy of Arts, Honored Artist of the Russian Federation, Professor Oleg Nikolaevich Loshakov in Vladivostok. The work provides a brief overview on the history of the formation of professional arts education in the Far East. Positive influence of Oleg Loshakov — graduate of the Moscow State Academic Art Institute named after V. I. Surikov on improving the quality of the educational process at the Vladivostok Art School is noted. He contributed greatly to the development of fine arts in Primorsky Krai as a teacher and representative of the Moscow School of Painting. Further creative activity of O. N. Loshakov who painted landscapes on Shikotan Island together with a group of young artists that were his first graduates is described. The materials of the article expand the range of ideas about the artist's work in the Far East, and reveal new aspects of his landscape paintings of the 1960s. Special consideration is given to the monumental landscape in the master's work. The relevance of the topic is determined by the lack of materials devoted to the period of O. N. Loshakov's formation as a teacher and artist.

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Basseva, Silvy. "The Plein Air “Artists, Balchik, Love – A Meeting of European Seas“: Twenty Years of Presence on the Map of Contemporary Bulgarian Art." Visual Studies 6, no. 2 (December 12, 2022): 178–84. http://dx.doi.org/10.54664/asop9456.

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Over its 20-year existence, the plein air “Artists, Balchik, Love – A Meeting of European Seas” has accumulated a rich history. In all editions so far, 55 artists have taken part. This report analyzes the works created during the plein air, as well as the trends that have emerged as genres and stylistics. It is natural for so many different participants to see a great variety of paintings and creative results. Some of them even started whole cycles of works. The landscape genre dominates (natural, sea, and urban landscapes), but we also observe more decorative and abstract compositions. The authors are studied by the type of genre in which they have worked, comparing their individual creativity and outlining general trends. One of the main conclusions is that, in such a long-term plein air, most of the trends characteristic of Bulgarian painting over the past two decades can be observed.

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SNELL, K. D. M. "In or Out of their Place: The Migrant Poor in English Art, 1740–1900." Rural History 24, no. 1 (March 13, 2013): 73–100. http://dx.doi.org/10.1017/s0956793312000209.

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AbstractThis article considers how depictions of the migrant poor in English landscape art changed between 1740 and 1900. A painting by Edward Haytley (1744) is used to illustrate some prevailing themes and representations of the rural poor in the early eighteenth century, with the labouring poor being shown ‘in their place’ socially and spatially. This is then contrasted with the signs of a restless and migrant poor which appear in a few of Gainsborough's paintings, culminating in the poverty-stricken roadside, mobile, vagrant and sometimes gypsy poor who are so salient and sympathetically depicted in George Morland's work between 1790 and 1804. While there were clearly British and European precedents for such imagery long before this period, it is argued here that English landscape art after about 1750, and especially from c. 1790, witnessed a marked upsurge of such restless and migrant imagery, which was related to institutional and demographic transformations in agrarian societies. By George Morland's death in 1804, ‘social realism’ had become firmly established in his imagery of the migrant poor, and this long predated the 1860s and 1870s which are normally associated with such a movement in British painting.

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Thistlethwaite, Mark, and Albert Boime. "The Magisterial Gaze: Manifest Destiny and American Landscape Painting c. 1830-1865." Western Historical Quarterly 23, no. 4 (November 1992): 500. http://dx.doi.org/10.2307/970307.

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Brajovic, Sasa. "Bellini's Mother of God with infant Christ in Dobrota." Zograf, no. 31 (2006): 215–18. http://dx.doi.org/10.2298/zog0731215b.

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In the parochial church of Saint Matthew in Dobrota, there is a preserved painting by Giovanni Bellini and his workshop, The Mother of God with the Infant Christ. In the iconographic sense it is customary: a bust of Mary with the little Christ in her arms, a parapet in the foreground, green drapery and a landscape in the background. The motif of the parapet indicates the separation of the holy figures from the earthly world. However, this border is not strong: the emotional closeness between the Mother and the Child is transferred into the everyday world of mortals. The parapet is also an association with the Holy Altar. It expresses the Eucharistie, sacramental role of Christ and the Mother of God. The idea about the Mother as the tabernacle of God is underscored by the motif of the curtain. The landscape in the background makes the painting especially valuable. The softness and transparency that characterize it point to a possibility that Bellini created this painting at the end of the 15th or the beginning of the 16th century, at the time when he was under the influence of the Arcadian circle from Asolo. The landscape on the painting is passage moralize, because all the elements - the tower, the garden, the spring, goats, swans - are clearly symbols of the Mother of God. This altar painting, purchased by an unknown native of the Boka Kotorska Bay, and brought back to his birthplace, proves that the spirit of the renaissance also touched the southeastern coast of the Adriatic.

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Bos, Ernst. "Landscape painting adding a cultural value to the Dutch countryside." Journal of Cultural Heritage 16, no. 1 (January 2015): 88–93. http://dx.doi.org/10.1016/j.culher.2013.12.008.

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Wolf, Bryan J., William H. Truettner, and Alan Wallach. "Thomas Cole: Landscape into History; Understanding Thomas Cole Today; Thomas Cole and the Rise of American Landscape Painting." Journal of American History 83, no. 3 (December 1996): 958. http://dx.doi.org/10.2307/2945649.

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Grey, Thomas S. "Tableaux vivants: Landscape, History Painting, and the Visual Imagination in Mendelssohn's Orchestral Music." 19th-Century Music 21, no. 1 (1997): 38–76. http://dx.doi.org/10.2307/746831.

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Grey, Thomas S. "Tableaux vivants: Landscape, History Painting, and the Visual Imagination in Mendelssohn's Orchestral Music." 19th-Century Music 21, no. 1 (July 1997): 38–76. http://dx.doi.org/10.1525/ncm.1997.21.1.02a00020.

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Spear, Richard. "Claude and the economics of landscape painting in Seicento Rome." Konsthistorisk Tidskrift/Journal of Art History 73, no. 3 (August 2004): 147–57. http://dx.doi.org/10.1080/00233600410015690.

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Myers, Kenneth John, and Albert Boime. "The Magisterial Gaze: Manifest Destiny and American Landscape Painting, c. 1830-1865." Journal of American History 79, no. 4 (March 1993): 1603. http://dx.doi.org/10.2307/2080260.

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Wang, Feng, and Huomei Chen. "The Application of Perspective Relations in the Spring Tour by Zhan Ziqian." Highlights in Art and Design 1, no. 3 (December 10, 2022): 91–93. http://dx.doi.org/10.54097/hiaad.v1i3.3573.

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As a famous painter in the Sui Dynasty, Zhan Ziqian painted the scene of people's spring outing in the south of the Yangtze River in early spring and February, when peaches and apricots bloom and leaves turn green. So far, this painting is the only one left by the painter Zhan Ziqian, and it is also one of the oldest landscape scrolls. The artist Zhan Ziqian is very important in dealing with the spatial perspective of his famous painting "Spring Outing". Next, this paper will analyze the development of perspective in the history of traditional Chinese painting by combining specific works, and further analyze the perspective relationship in "Spring Outing" for artistic analysis.

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43

Zinchenko, V. P. "The importance of outdoor lessons for students." E3S Web of Conferences 273 (2021): 12126. http://dx.doi.org/10.1051/e3sconf/202127312126.

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In the article, we consider the problems of teaching painting to students of art specialties in plein air practice. Based on a historical study of the stages of development and formation of landscape as an independent genre in the fine arts, the specifics, and features of teaching the art of painting in the open air are determined. The definition of the concept “Motif in the fine arts” is being clarified. The dependence of the format of practical tasks and stages of work on a pictorial etude on the goals and objectives of teaching painting in the plein air is established. Research methods: analysis of literature on the research problem (art history, theory, and methods of teaching fine arts, etc.); student work performed in plein air practice; works of famous artists; survey of students and teachers. The results of the research can be used in the process of teaching painting to bachelors, masters, and specialists in the field of painting, graphics, design, architecture.

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Grimsted, Patricia Kennedy. "A Goudstikker van Goyen in Gdańsk: A Case Study of Nazi-Looted Art in Poland." International Journal of Cultural Property 27, no. 1 (February 2020): 53–96. http://dx.doi.org/10.1017/s0940739120000016.

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Abstract:This article traces the provenance and migration of a painting by Jan van Goyen (1595–1656), River Landscape with a Swineherd, from the Jacques Goudstikker Collection and now in Gdańsk Muzeum Narodowe. After the “red-flag sale” of the Goudstikker Collection in July 1940 to German banker Alois Miedl, and then to Hermann Göring, this painting—after its sale on Berlin’s Lange Auction in December 1940 to Hitler’s agent Almas-Dietrich—was returned to Miedl-Goudstikker in Amsterdam. Miedl then sold it (with two other Dutch paintings) to the Nazi Gauleiter of Danzig, Albert Forster, among many wartime Dutch acquisitions for the Municipal Museum (Stadtmuseum). Evacuated to Thuringia and captured by a Soviet trophy brigade, it thus avoided postwar Dutch claims. Returned to Poland from the Hermitage in 1956, it was exhibited in the Netherlands and the United States (despite its Goudstikker label). Tracing its wartime and postwar odyssey highlights the transparent provenance research needed for Nazi-era acquisitions, especially in former National Socialist (NS) Germanized museums in countries such as Poland, where viable claims procedures for Holocaust victims and heirs are still lacking. This example of many “missing” Dutch paintings sold to NS-era German museums in cities that became part of postwar Poland, raises several important issues deserving attention in provenance research for still-displaced Nazi-looted art.

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Campbell, Stephen J. "Giorgione'sTempest, StudioloCulture, and the Renaissance Lucretius*." Renaissance Quarterly 56, no. 2 (2003): 299–332. http://dx.doi.org/10.2307/1261849.

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AbstractThe invention of Giorgione's much-interpreted painting known asThe Tempestcan be explained with reference to theDe rerum naturaof Lucretius. Lucretius provides the essential connection between the main elements of the painting: a male 'wanderer,' a lightning bolt, broken columns, a naked, nursing female, and a landscape rendered according to momentary, fleeting appearances. The invention of the painting also responds to the way Lucretius was read around 1500, to the specific interests of the poet's Renaissance readers and imitators, and to forms of self-cultivation associated with the ownership of astudiolo.

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Gehring (book editor), Ulrike, Pieter Weibel (book editor), and Jane Russell Corbett (review author). "Mapping Spaces: Networks of Knowledge in 17th Century Landscape Painting." Renaissance and Reformation 40, no. 4 (January 28, 2018): 211–13. http://dx.doi.org/10.33137/rr.v40i4.29288.

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Colby, Robert. "Dosso's early artistic reputation and the origins of landscape painting." Papers of the British School at Rome 76 (November 2008): 201–31. http://dx.doi.org/10.1017/s0068246200000477.

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Nei loro rispettivi resoconti biografici di Dosso Dossi (1487?—1542), Paolo Giovio e Giorgio Vasari descrissero l'artista della corte ferrarese con una buona reputazione per la pittura dei paesaggi. Con questo articolo si esamineranno le reazioni critiche alla luce del programma storiografico di ciascun autore, considerando come si evolvevano gli approcci di Dosso alla pittura dei paesaggi nel corso della sua carriera. I dipinti di Dosso sono stati a lungo visti come primi esempi di un ‘paesaggio indipendente’, costrutto che deve essere esaminato di nuovo al fine di comprendere pienamente lo scopo, il contesto e il significato delle inusuali scene di paesaggio della pittura di Dosso.

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Purtle, Jennifer. "Whose hobbyhorse now?: A revised Foreword for Chinese Landscape Painting as Western Art History1." Journal of Contemporary Painting 6, no. 1-2 (October 1, 2020): 11–21. http://dx.doi.org/10.1386/jcp_00011_1.

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This article constitutes a new Foreword for James Elkins’s Chinese Landscape Painting as Western Art History. Reflecting on this work a decade after it was first published, this Foreword seeks to position Elkins’s text with respect to current debates about appropriation, decolonization, race, whiteness, privilege and a problematic, colonialist, EuroAmerican notion of ‘the global’. Now the questions I asked ten years ago in response to Elkins’s text are more pressing than ever: how can the history of the art of non-western cultures be figured in their own terms, and how might such a project operate without transposing the object of inquiry entirely into western epistemological frameworks and strategies of academic inquiry? This article seeks to consider how Elkins’s text both de- and re-centres the discipline of art history so that the western tradition alone no longer dominates its master narrative and serves as sole source of its conceptual lexicon. Moreover, this article posits that from Elkins’s text we might contemplate a future in which the western tradition might become marginal within the discipline of art history, its established terms, discourses and practices incommensurate with newly centred analogues drawn from non-western cultures.

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Rosenberg, Eric, Rebecca Bedell, Martin A. Berger, Elizabeth Johns, and Alexander Nemerov. "The Anatomy of Nature: Geology and American Landscape Painting, 1825-1875." Art Bulletin 85, no. 3 (September 2003): 617. http://dx.doi.org/10.2307/3177392.

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Decker, Juilee. "John Constable and the Theory of Landscape Painting (review)." Victorian Studies 48, no. 3 (2006): 562–64. http://dx.doi.org/10.1353/vic.2006.0115.

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