Dissertations / Theses on the topic 'Landscape painting'
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Joy, Clair. "Contemporary landscape painting." Thesis, Goldsmiths College (University of London), 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.523650.
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This thesis will look at the concept of contemporary landscape painting as well as examples of artists whose work could be described as landscape painting in a contemporary context. I will be using different models (both theoretical and artistic) from those associated with the history of landscape painting to look at what contemporary landscape painting might now be. My purpose is twofold: to argue that the concept of landscape has been redefined and as a result landscape painting has new ways of being thought about, and to establish a context for my own practice. I look at the idea of space-time to investigate how it defines place and as a result redefines landscape painting in a contemporary context. As a way of doing this I look at montage and at maps/mapping, both as ideas and as ways of working. Differing approaches and mediums as 'producing' spaces, rather than an emphasis on depicted visual characteristics (of buildings or the rural for instance), is also discussed as a concept that relates to contemporary landscape painting. Paintings can have a diverse materiality that may embody and refer to our experience of place. Paintings may also engage the 'discursive site' of landscape, reflecting the questions and issues related to shifting conceptual understandings of 'landscape' . I look at the work of three established artists that may be seen as establishing new contexts in which to see contemporary landscape paintings. These artists are Robert Smithson, Alighiero Boetti and Eugenio Dittborn. Examples of artists who connect with concepts of space-time as unexpected and unpredictable, or use the co-existence of different 'spaces' in their methods of making and in their subject matter, are described as contemporary landscape painters. I have selected the artists Julie Mehretu, Sarah Morris, Angela de la Cruz, Neil Jenney, Nigel Cooke and Keith Tyson.
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Tucker, Judith Ann. "Painting landscape : mediating dislocation." Thesis, University of Leeds, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.425628.
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Scully, Regina S. "Landscape to Mindscape." ScholarWorks@UNO, 2015. http://scholarworks.uno.edu/td/2109.
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In each of my paintings I try to create an individual micro-universe made up of elements that resonate between the familiar and the unknown. I carve up space and hybridize disparate elements, in an effort to excavate objects and spaces from our collective unconscious. By employing different perspectives, I try to encourage an experiential view of the landscape, like the one that exists for the viewer in the physical world, where sightlines are constantly shifting. These landscapes become a rhythmic labyrinth to enter and travel through, wherein the viewer experiences his or her own personal associations.
In this thesis, I will explore the painted landscape in Western and Eastern traditions and discuss different types of landscapes as they relate to my paintings and my personal commentary on the landscape. I will also examine my painting process and my personal approach to fundamental elements including perspective, line, and color.
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Ito, Atsuhide. "Separate landscape : non-place, aesthetics and landscape on the Tōkaidō Route, Japan." Thesis, University of Brighton, 2007. https://research.brighton.ac.uk/en/studentTheses/022fc32a-3aa4-451e-8fb8-7941389e7e6e.
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Separate landscape is a research that combines a theory and practice through the examination of 'non-place'. Non-places such as airports, waiting lounges, car parks, shopping malls have been defined as places which lack a sense of history, social relations, and identity.
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Neale, Stacey J. "Light and landscape /." Online version of thesis, 1990. http://hdl.handle.net/1850/11315.
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Parker, Margaret Ina, and margaret_p@optusnet com au. "Landscape Painting: Connection, Perception and Attention." La Trobe University. Visual arts and design, 2006. http://www.lib.latrobe.edu.au./thesis/public/adt-LTU20080225.113947.
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I investigate the lived experience, the actuality of responding to land as a painter. This thesis consists of intensive investigations in the field and further exploration in the studio, resulting in a body of paintings and drawings which form the exhibition. The exegesis explores theories and ideas surrounding the work. The psychological engagement between people, land and art is of major concern. The choice of place selected to paint and the subject matter of rocks is discussed. Painters who work outside or have painted at the same site are considered for comparison with my working methods or concerns. The selective view is intimate. The format of the image and the composition are discussed in terms of proximity and space.
Consideration of the psychology of engagement with land and landscape painting, either as an observer or painter, is a major component of the research. This examination of human psychological development illuminates the origin of our sense of self and how we relate to the land on which we live. The premise of this enquiry is the idea that art and culture could reflect human psychological development. Do art objects contribute to cultural understanding of the relationship of person to environment? A phenomenological perspective is incorporated in this exploration of the interrelation of vision, perception and attention. Can the reality of experience be transferred into the art work? The deep attention to the landscape of Australian Aboriginal people serves as a cultural reference for these investigations.
This study concludes that sentient consciousness involving responsibility for land is an open, effective way of perceiving and depicting landscape. Responsibility for land can be encouraged by the development of cultural ideas based around landscape and can be the result of feeling connected to land. Art can contribute to changes in attitudes to land.
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Parker, Margaret Ina. "Landscape painting : connection, perception and attention /." Access full text, 2006. http://www.lib.latrobe.edu.au/thesis/public/adt-LTU20080225.113947/index.html.
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Thesis (M.Visual Arts) -- La Trobe University, 2006.Research. "An exegesis submitted in partial fulfilment of the requirements for the degree of Master of Visual Arts by Research, School of Visual Arts and Design, Faculty of Humanities and Social Sciences, La Trobe University, Bundoora". Includes bibliographical references (leaves 87-92). Also available via the World Wide Web.
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Brown, Anne L. "The unfolding of geologic space /." Online version of thesis, 1989. http://hdl.handle.net/1850/11329.
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Harris, Elizabeth. "Transparent landscape." PDXScholar, 1985. https://pdxscholar.library.pdx.edu/open_access_etds/3407.
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Gross, Bernard O. "Sex, death, and the landscape /." Online version of thesis, 1992. http://hdl.handle.net/1850/11898.
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Marley, Anna O'Day. "Rooms with a view landscape representation in the early national and late colonial domestic interior /." Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file, p, 2009. http://proquest.umi.com/pqdweb?did=1836637881&sid=7&Fmt=2&clientId=8331&RQT=309&VName=PQD.
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Lambert, Ray Constable John. "John Constable and the theory of landscape painting /." Cambridge [u.a.] : Cambridge Univ. Press, 2005. http://www.loc.gov/catdir/toc/cam041/2004040790.html.
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Forster, June. "Seeking equivalence : exploring dualities in landscape painting practice." Thesis, Aberystwyth University, 2014. http://hdl.handle.net/2160/50bf1c35-ff6e-4c3b-91b3-b2521ddc712f.
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Dualities evident in aspects of the visual world provide a framework for exploring how equivalence of landscape experience might be portrayed through the medium of paint. Research into micro/macro, past/present and here/there is driven by the text/image duality. This duality encompasses ekphrasis and gives rise to discussion on the process of making a visual but non-illustrative response to a poem. The writings of Gilles Deleuze (1925 – 1995) on Francis Bacon (1909 – 1992) are instrumental in investigating the function of paint to transmit feeling and act as a catalyst for the painting process itself. Each duality comprises two opposing or paired concepts or themes and in attempting to find accordance between each pair a tension is created that leads to a flow of ideas. This is exemplified by the micro/macro duality that invites comparison of small structures observed in rock fragments to large scale landscape formations and generates an imaginative response. Through juxtaposition of dualities new links between seemingly disparate subject matter are formed: geology and poetry, for instance, are brought together in a project that combines a particular rock type found in Cumbria with poems by Wordsworth (1770 – 1850). This provides a basis for autobiographical reflection on the here/there and past/present. Such juxtaposition acts to enrich the substance and scope of project material, forming a matrix of possibilities for further research. This process can be seen as a precursor towards a rhizomic approach, one where connections can be made between similar and dissimilar subjects with no barriers or hierarchical boundaries.
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Gore, Charlotte. "Identities in transition : German landscape painting 1871-1914." Thesis, University of Birmingham, 2011. http://etheses.bham.ac.uk//id/eprint/1724/.
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The approach to this thesis uses political history to interpret art history. The following chapters are dedicated to uncovering how artists defined Germany’s various lands. The analysis of identities in the paintings in this thesis are considered to be intangible, for at times artists are clearly constructing regional identities, particularly in the Worpswede colony. Others, such as the Eifel landscapes, are conscious markers of a national identity and attempts to combine it with the local. The Dachau paintings expand the issue further since, as it is argued here, Bavaria aspired to be a nation-state in its own right so artists represented a regional (Dachau) identity and federal and national (Bavarian) identity both of which fed into an overarching national (German) identity. The identities studied in this thesis are not binary; one does not exclusively dominate the other, but are constructed in a constant negotiation between the local, regional and national. As such this study participates in a wider dialogue that has exploded since the 1960s in sociology and beyond about the formation of identity.
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Shifman, Barry. "John Constable and the theory of landscape painting /." Cambridge : Cambridge University Press, 2004. http://catalogue.bnf.fr/ark:/12148/cb39281134f.
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Betlem, Gloria. "Landscape and the light /." Online version of thesis, 1989. http://hdl.handle.net/1850/11519.
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Lambert, Raymond John. "Landscape existing with art : a study of ideas and style in John Constable's landscapes." Thesis, Birkbeck (University of London), 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.313592.
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Chandler, Patricia Elaine. "Aesthetics of healing : joining feminism, autobiography and landscape /." Online version of thesis, 1993. http://hdl.handle.net/1850/11759.
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Halliday, Elizabeth. "Memory of a Landscape." VCU Scholars Compass, 2016. http://scholarscompass.vcu.edu/etd/4528.
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Artist Statement
Creativity is one of my strongest talents. As a visual person, I understand and interpret the world through observation and analysis. Nature intrigues me. I find it awe inspiring how the natural environment can change so dramatically day-to-day. As a result, I record my experiences and memories of landscapes and seascapes.
My areas of interest are painting and computers in the arts. I am an abstract painter and my media consists of acrylic, watercolor, mixed media, and digital imagery. I create low relief and rough textures with added materials, and develop layers of paint with a palette knife. In addition, I layer gel medium transfers using my own photographs.
Color is important in my work and encapsulates and expresses my feelings and memories. I use subtle color washes and add small amounts of bold color to create contrasts. This approach to coloration allows me to explore unexpected and unique combinations. I use color symbolically, such as a muted blue to display a calm and relaxed feeling that I get from experiencing nature. This also mimics the essence of sky and water. My goal is to capture the viewers’ attention and show them my response to nature in hopes that they will relate it to their own experiences.
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Payne, Christiana Joan Elizabeth Ruth. "The agricultural landscape in English painting c. 1785-1885." Thesis, Courtauld Institute of Art (University of London), 1985. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.341201.
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Chak, Chung-Ho. "A visual study of Indiana's landscape." Virtual Press, 1986. http://liblink.bsu.edu/uhtbin/catkey/461933.
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The purpose of this Creative Project was to create and analyze the student's art work,which was finished within the academic year 1985-86, at Ball State University. Due to the difference in geographical features between Indiana and Hong Kong (where the student originally came from), the attitude and approach of the student towards painting was affected. This paper traced and identified how and where his works of art changed.The whole analysis was based on three major pieces. They were Frankton I, A Cold Summer, Frankton II and LandscaDe VI (which was a landscape of Muncie). These three works were oil paintings. The student also used some of the preparatory watercolor sketches that he made to help describe the different developing stages of his art. During the analysis, technical aspects of handling oil paint were discussed too.
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Clements, Cassie. "Outside inside /." Morgantown, W. Va. : [West Virginia University Libraries], 2010. http://hdl.handle.net/10450/11100.
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Thesis (M.F.A.)--West Virginia University, 2010.Title from document title page. Document formatted into pages; contains iii, 42 p. : col. ill. Vita. Includes abstract. Includes bibliographical references (p. 23).
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Amato, Angela. "An illusion of reality /." Online version of thesis, 1987. http://hdl.handle.net/1850/10307.
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Hickok, Suzanne E. "The social construction of pictorial space." Diss., Online access via UMI:, 2009.
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Browne, Deborah. "PAINTING THE SUBLIME LANDSCAPE AND LEARNING TO SEE NATURE ALONG THE WAY." Master's thesis, University of Central Florida, 2008. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/4150.
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My thesis is one artist's response to the question of the relevance of landscape painting today, focusing on the communication of the idea of environmental stewardship. The process of studying nature and transferring that vision to canvas promotes greater understanding of the beauty and complexity of elements that comprise ecosystems. The artist possesses a creative impulse finding satisfaction in making artwork that expresses a love of nature as part of a larger worldview. If done well, the persuasive power of such art may be enormous. Comprised of oil paintings and written work, this thesis establishes a way of approaching both landscape painting and the natural environment. Literature pertaining to the contributions of landscape artist Frederic Church, varying aesthetic theories, nature writings, and selected contemporary artists are discussed. The focus then turns to particular landscape elements, introducing the artwork created for the thesis. The thesis concludes with the artist's purpose statement.M.A.
Department of Liberal and Interdisciplinary Studies
Graduate Studies
Interdisciplinary Studies MA
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Chen, Weihe. "The landscape painting of Li Keran and its special qualities." Thesis, Durham University, 1997. http://etheses.dur.ac.uk/995/.
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Newham, Priska. "South African landscape painting, 1848-2008 : a handbook for teachers." Master's thesis, University of Cape Town, 2010. http://hdl.handle.net/11427/11018.
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My dissertation looks at South African landscape painting with the requirements of high school art teachers in mind. It has been written in consultation with Professor Michael Godby, at the University of Cape Town, the curator of the landscape exhibition, to be held at the Old Town House in Cape Town from 9 June to 11 September 2010. The handbook is designed to be distributed to educators at the Ibhabhathane Project Workshop organised to coincide with the exhibition. This is a teaching resource for Visual Culture Studies for Grades 10 to 12. It focuses on an analysis of artists in the school curriculum who have engaged with the genre in diverse and interesting ways.
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Kriz, Kay Dian. "Genius as an alibi ; the production of the artistic subject and english landscape painting, 1795-1820." Thesis, University of British Columbia, 1991. http://hdl.handle.net/2429/41450.
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Nineteenth-century writers and modern scholars have agreed
that there was a major shift in the practice of landscape
painting in England around the turn of the nineteenth century.
Paintings by up-and-coming artists such as J. M. W. Turner,
Thomas Girtin, and A. W. Callcott were seen to exhibit a concern
for atmospheric effects and an "expressivity" lacking in earlier
works. This shift has often been explained by invoking artistic
genius: the keen intellect and sensibility of the artistic
producer has served as a self-evident explanation of the rise to
prominence of this form of landscape painting. This study
endorses the centrality of the artistic subject to the enterprise
of landscape painting, but disputes the notion that genius is a
natural and self-evident phenomenon. It is argued here that the
native landscape genius was a category of the creative individual
which was socially produced at this historical moment in
conjunction with or in opposition to other contemporaneous
formulations of the artist.
This examination of artistic subjectivity as determined by
gender, social status, education, wealth, and so forth, is
organized around three interrelated subject positions: the "man
of letters" derived from the notion of the academic history
painter, the "market slave," a negative construction of the
artist who was seen to pander to the demands of the market and the "imaginative man of genius." The inscription of these
positionalities in landscape imagery i s contingent upon a range
of historically specific social phenomena. The discussion
focuses particularly upon the discourse of nationalism during and
immediately after the Napoleonic wars, epistemoiogical debates
concerning the type of knowledge appropriate for a commercial
society, and the discourse on the market as it relates to the
circulation of paintings as cultural commodities. Determining
the relationship of the artistic subject to these various social
phenomena involves an examination of the physical spaces in
which paintings were displayed and exhibited, the discursive
spaces in which they were discussed and evaluated—including art
criticism, aesthetic treatises, illustrated county histories and
social and political commentary—and the institutional practices
which shaped their production and reception.
The power and appeal of the landscape genius, I argue, lay
in its ability to a serve broad range of social interests in
negotiating successfully the seemingly contradictory demands of
the market in luxury commodities and of a social ideal of
Englishness marked by independence, intellectual power and
sensibility. The genius's imaginative encounter with external
nature provided it with an alibi which served to obscure it s
activities as an economic producer in a highly competitive market
society.Arts, Faculty of
Art History, Visual Art and Theory, Department of
Graduate
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Chung, Miu-fun Anita. "Jiehua of the Qing Dynasty (1644-1911) /." Hong Kong : University of Hong Kong, 1999. http://sunzi.lib.hku.hk/hkuto/record.jsp?B21254205.
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Greenwald, Diana Seave. "Painting by numbers : case studies in the economic history of nineteenth-century landscape and rural genre painting." Thesis, University of Oxford, 2018. http://ora.ox.ac.uk/objects/uuid:3e1941c3-3c7e-48ee-9c62-2d2fa9c2c3fc.
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Industrialization altered the socioeconomic landscapes of France and the United States in the nineteenth century; meanwhile, the content and style of art produced in both countries also changed. In particular, landscape and rural genre painting became more prominent. Scholars have argued that the socioeconomic changes caused the artistic ones. This thesis, 'Painting by Numbers: Case Studies in the Economic History of Nineteenth-Century Landscape and Rural Genre Painting', uses methods from the social sciences to conduct case studies that examine these causal links. In addressing this topic, this project engages with the work of T.J. Clark, Alan Wallach and other founding social historians of art. With the creation of two databases containing information about 410,000 artworks exhibited in nineteenth-century France and the U.S., this thesis applies statistical methods to a much larger sample of artistic data. Exploiting this data source provides a socioeconomic history of the average experience of participants in the art world rather than detailed examinations of the experiences of a handful of still-famous artists, which have been more typical of the field. The first two chapters of the thesis provide an introduction, literature review, and description of the French dataset. Chapters 3 and 4 address research questions in the history and historiography of images of nature in nineteenth-century French art. Chapter 3 employs econometrics to examine systematic relationships exist between the quantities of images of nature exhibited in nineteenth-century France and the pace of industrialization. Statistically, the element of modernization that most affected the output of images of nature in the artistic data examined was the founding of artists' colonies near new rail lines connecting Paris to the countryside. Chapter 4 analyzes the artist Jean François Millet's letters, excerpts of which scholars used to form assump- tions about how artists' anti-urban attitudes inspired their depictions of nature. The chapter demonstrates that Millet was an active user of industrial modes of transport who often traveled to Paris. Chapter 5 introduces the American dataset, and the remaining chapters present three case studies about art in the U.S. during the nineteenth century. Chapter 6 examines the much-cited inventory The Art Treasures in America, showing it overstates the amount of European art in American collections during the nineteenth century. Chapter 7 analyzes how art collectors' socioeconomic backgrounds influenced their acquisitions; it demonstrates that socioeconomic markers are generally poor predictors of collecting patterns. Chapter 8 investigates the relationship between the growth of the railroad in the U.S. and landscape painting. Mapping the frequency of depiction of natural sites alongside the growth of railroads shows that visual culture is often a byproduct of rail lines built for other purposes rather than a catalyst for building new lines. My thesis refines current understanding of how socioeconomic change affected art in the nineteenth century in two ways. First: it shows sample bias can compromise existing socioeconomic histories of art, and the use of data can help combat this bias. Second: it provides examples of how industrialization most affected artistic output by removing structural constraints on the geographic movement of artists, collectors and artworks themselves. More broadly, this project demonstrates that scholars can use digital tools in conjunction with economic methods to document and analyze phenomena in the art history that would be neglected in purely qualitative analyses.
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Donald, Colin University of Ballarat. "Quoting landscape : an investigative journey across the landscape of the Westen district of Victoria." University of Ballarat, 2004. http://archimedes.ballarat.edu.au:8080/vital/access/HandleResolver/1959.17/12759.
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"This research project aims to provide a contemporary visualisation of "specific sites." The visualisation of these selected landscapes will draw upon and add to existing traditions of representation of this region, embedding my experiences within this dialogue."Master of Arts (Visual Arts)
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Donald, Colin. "Quoting landscape : an investigative journey across the landscape of the Westen district of Victoria." Thesis, University of Ballarat, 2004. http://researchonline.federation.edu.au/vital/access/HandleResolver/1959.17/37534.
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"This research project aims to provide a contemporary visualisation of "specific sites." The visualisation of these selected landscapes will draw upon and add to existing traditions of representation of this region, embedding my experiences within this dialogue."Master of Arts (Visual Arts)
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Donald, Colin. "Quoting landscape : an investigative journey across the landscape of the Westen district of Victoria." University of Ballarat, 2004. http://archimedes.ballarat.edu.au:8080/vital/access/HandleResolver/1959.17/14594.
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"This research project aims to provide a contemporary visualisation of "specific sites." The visualisation of these selected landscapes will draw upon and add to existing traditions of representation of this region, embedding my experiences within this dialogue."Master of Arts (Visual Arts)
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Gilchrist, Marianne McLeod. "Images of the Petrine era in Russian history painting." Thesis, University of St Andrews, 1994. http://hdl.handle.net/10023/15319.
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'Images of the Petrine Era in Russian History Painting' examines the changing iconography of Petr I (1672-1725) in nineteenth-century Russian painting, and its relationship with Petr's symbolic role in the cultural debate between the Westernisers and the Slavophiles over the interpretation of the Russian past and the direction of Russia's future. Artistic developments are discussed against a background of history, historiography and literature. Paintings by Academic artists that were produced as contributions to the official cult of Petr, fostered by Nikolai I, are explored as expressions of aspects of the archetypal Hero. The evolution of historical genre painting, and particularly the developments introduced by Shvarts in the 1860s, are examined as a crucial component of the context for the emergence of the Peredvizhniki. The main focus of this study comprises the Realist history paintings of the Peredvizhniki. The pursuit of historical truth, after Aleksandr Il's relaxation of censorship in the late 1850s, became a significant factor in the application of Realism to history painting. The treatment of Petrine themes by the Peredvizhniki in their First Exhibition in 1871 is discussed in relation to the celebrations for Petr's bicentenary in 1872. Ge's ‘Petr I interrogates Tsarevich Aleksei Petrovich at Peterhof' is analysed in detail for its importance as the first treatment in a Realist style of a controversial historical incident which was unfavourable to Petr. Evidence, exemplified by Myasoedov's ‘The Grandfather of the Russian Fleet', is brought forward which suggests continuities between the Academy and the Peredvizhniki. The Peredvizhniki's varied approaches to Petrine themes are examined, emphasising the group's lack of ideological uniformity. History paintings are explored in their social and cultural context, for instance, nineteenth-century depictions of Tsarevna Sof'ya Alekseevna and the rise of Russian feminism, and the effect of Surikov's personal experience of cultural conflict on his works.
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司徒元傑 and Yuen-kit Szeto. "Xiao Yuncong (1596-1669) and his landscape paintings." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1999. http://hub.hku.hk/bib/B31223424.
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Skidmore, Colleen Marie. "Dorothy Knowles's rural landscape painting : modernity and tradition in urban Saskatchewan." Thesis, University of British Columbia, 1989. http://hdl.handle.net/2429/28543.
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Between 1955 and 1965, Saskatchewan painter Dorothy Knowles established her main category and style of production as "painterly" representation of rural landscape. The literature to date attributes the emergence of this practice to Knowles's encounter with Clement Greenberg, the patriarch of formalist criticism, at the 1962 Emma Lake Artists' Workshop. In fact, critic Andrew Hudson has called Knowles's work "the most important art to emerge out of Greenberg's workshop." Herein lies the problem central to this thesis: how did a woman artist negotiate (with critical and market success) the gender constraints of her artistic context while addressing additional social and artistic issues by means of rural landscape painting?
Previous examinations have constructed Knowles's landscape work as an autonomous, "feminine" and artist-centred activity. These constructions are dependent on Greenberg's formalist doctrine and charged with gendered precepts that have masked, if not negated, the paintings' social roots. However, little work has been done to revise this reading. Therefore, a deconstruction of Greenberg's gendered formalist language is undertaken in Chapter I. Evidence drawn from Greenberg's written and oral comments about women artists and critics demonstrates that formalist doctrine delineated masculine and feminine roles and styles, and consequently denied women's production a place in serious art practice. Historical circumstances are then reconstructed to initialize a rereading of the elements that shaped the emergence and meaning of Knowles's rural landscapes. Two factors are documented: the urbanization of Saskatchewan in the 1950s with attendant transitions in art practice, as demonstrated by paintings and reviews produced at that time; and the literary and painting traditions of the myth of the Canadian prairie as a Garden of Eden, taken up in the idiom and content of Knowles's work. This material indicates that Knowles's rural landscape painting was not simply a result of formal manipulation of the medium nor of Greenberg's perceptive insight into the artist's "creative" inclinations. Knowles's early rural landscape painting is found to have registered seemingly contradictory and yet intermingled social desires for both an urban modernity and traditional rural prairie values.Arts, Faculty of
Art History, Visual Art and Theory, Department of
Graduate
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Mavity, Imola Antal. "From tradition to modernism : British landscape painting in the postwar period." Thesis, University of Kent, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.498816.
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Guardiano, Nicholas. "Transcendentalist Aesthetics in Emerson, Peirce, and Nineteenth-Century American Landscape Painting." OpenSIUC, 2014. https://opensiuc.lib.siu.edu/dissertations/914.
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My thesis is that there is an aesthetic dimension of nature that is metaphysically significant, qualitatively pluralistic, and artistically creative, and that this accounts for the sensuous complexity of experience, as well as the possibility of discovering new qualitative features about the world and expressing them in novel forms, as exemplified in art. I call the philosophy that endorses the reality of this dimension Transcendentalist Aesthetics. The term "Transcendentalist" recalls the philosophy of New England Transcendentalism with its core in Ralph Waldo Emerson, and which influenced the philosophical writings of Charles S. Peirce and the art of the nineteenth-century American landscape painters of the Hudson River School and Luminism. The primary overall goal is to present and argue for a Transcendentalist Aesthetics by making use of the philosophy of Emerson and Peirce, together with the writings and landscapes of the painters. More specifically, Emerson's claims about nature and art and the painters' representations of nature provide various poetic observations of nature that provide an empirical starting point concerning the rich aesthetic complexity of the world. This complexity finds a theoretical ground in Peirce's metaphysical cosmology, which presents a rationally coherent account of the greater structures and processes of the universe while possessing important aesthetic consequences for lived experience and art. The landscape paintings also have a role in that they are expressive of the Transcendentalist philosophy itself, serve as case studies for theoretical interpretation, and are concrete evidence that new qualitative features about the world may be discovered and realized in novel artistic ways.
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Lin, Tung Pei, and 林東北. "Chinese Landscape Painting." Thesis, 1998. http://ndltd.ncl.edu.tw/handle/86014443837296402543.
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王淑美. "Concerto of landscape painting –Shu-May Wang’s description of landscape painting." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/01137276917879353416.
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碩士華梵大學
美術學系碩士班
105
Chinese traditional landscape painting is an important branch of Chinese panting, and Chinese panting is one of the four arts, that is the ancient scholars’ skills and hobbits in our country. In board sense, Chinese panting include traditional wall panting, brocade panting and wash panting, but in narrow sense, is only means the wash panting. The emergence and development of landscape panting started at Six dynasties, after Sui and Tnag dynasty, reach a special achievement at Yuan. Because of the unusual political society at Yuan dynasty, the scholars combine poem, calligraphy and panting, and the different races, culture between Han and Mongolia also contradictions and shock the scholars’ mind. Contemporary painters and researchers learning form experience and aesthetics, comb and list the freehand landscape panting’s developing, analyze the reasons of the diversity and characteristics of the contemporary’s scholars’ panting. According to the research, and further practice in the creation of self, combined with the classical landscape painting techniques and mood, with many years of painting experience, landscapes among the real feelings, with the Western painting skills to complete the "Concerto of landscape painting" to elaborate my creative ideas and inner imagination.
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Jing-Chyi, Wong, and 翁竟期. "The Comparative Study between Chinese Ink-landscape Painting and Western Watercolor-landscape Painting." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/95589675566139308685.
Full textAbstract:
碩士中國文化大學
藝術研究所美術組
99
This thesis is divided into five chapters: The first chapter elaborates on the profound magnitude and the extensive impacts of Chinese culture, highlighting its uniqueness and the fusion of western and eastern cultural heritages, thus formulating an integrated entity of form and content, providing mutual evidences in support of the revelation of their preciousness. Chapter Two manifests that Chinese painting is partially characterized by giving particular importance to the pursuit of shape, spirit, disposition, and artistic conception. Chapter Three indicates that traditional Western Painting reflects the pursuit for realism, the capture of form and content, and its evolution. Chapter Four accentuates the thematic distinctions in the motivations and presentations between the Chinese and Western paintings, addressing their artistic constitutions, combination, and their mutual relationship. Chapter Five demonstrates the nature of painting brushes, painting colors, and painting papers, illustrating the differences between Chinese and Western painting materials by citing frequently-used materials. In Chapter Six, we shall conduct the survey and summery for the thesis for an articulated integration and conclusion. Chapter Seven features Discourse on Creation, highlighting specific analysis on the author’s works, with particular emphasis on materials frequently employed such as watercolor-painting and ink-painting. Through the realistic depiction of landscape and object and the conveyance of the individual subjective conception, we shall explore the connection between these two materials, and proceed to seek for the potentiality of development. The thesis is composed of separate discourses; yet the chapters are mutually-affiliated. The methodologies adopted include Cross Validation, Data Collection, Inductive Analysis, and Individual Discourse.
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Wang, Su-Jen, and 王素珍. "Leisurely enjoying the landscape and painting the landscape." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/ph43r3.
Full textAbstract:
碩士國立臺灣師範大學
美術學系
105
The thesis title is “Leisurely enjoying the landscape and painting the landscape”. I want to use ”leisurely-enjoying” aesthetic to be the coordinate of this thesis. The scope of this thesis commences from the myths of chaos and terminates at linear history. The landscape opinion of myths was the starting point, after the landscape entered into history, due to the viewpoints of Confucianism and Taoism, the nature landscape was given a kind of philosophy thinking. Due to writers’ and poets’ acumen and their colorful brush, the landscape became more elegant and beautiful. Besides increasing the pleasure of Leisurely enjoying, the landscape provided a large amount of material to artists. Due to striving by myths, poets and Philosophers, nature landscape enhances its connotation, then leisurely-enjoying landscape and painting the landscape become more interesting. Combining with its respective time and space, the landscape showed its changeable styles and wits. Time and space also make the underlying meaning of landscape more poetic.
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Nang, Mak Sze, and 麥仕能. "Study of Watercolor Landscape Painting." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/yuyyvy.
Full textAbstract:
碩士國立臺灣師範大學
美術學系在職進修碩士班
96
The landscape of Taiwan is known for diversities of natural beauty composing towering mountains, restful lakes, beautiful waterfalls, hot springs, fantastic coastal rock formations, freshwater and brackish ponds, mudflats, marsh, rice paddies, and woodland. Due to the rapid expansion of tourism industry and drastic development on supporting infrastructures in the past decades, many of the natural beauties were either damaged or deteriorated. The restoration and recovering of these scenic areas to origin faces is no longer possible. Being grew up in Taiwan and having an exceptional care toward land and water in taiwan, the author would like to express his concern and to draw public’s awareness on the importance of nature and historical reservation for Taiwan through his creative paintings. The author intends to use his heartfelt painting that capturing the essence of Taiwan natural beauty as a powerful tool in arousing public’s echo on natural resources reservation. Hopefully our next generation can also enjoy the same natural beauties with our efforts and consideration. The author has been specializing in creative water colour painting and would take this opportunity in introducing innovative painting approaches in expressing Taiwan gorgeous landscapes. From the creative point of view, the author is anticipating new challenging on both applying creative painting techniques and adopting evolutionary ideas in his production. Subsequently, a new direction and wave of painting style is expected to be formed in this writing process.
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Tsao, Hui-ju, and 曹慧如. "Viewing Tamshui－the shapingof landscape image and landscape painting." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/85709934312303294551.
Full textAbstract:
碩士國立中央大學
藝術學研究所
99
Before reading the
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LIAO, FANG-YI, and 廖芳乙. "Landscape painting of Liao Fang Yi." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/4tscau.
Full textAbstract:
碩士國立臺灣藝術大學
美術學系
104
The transcendental spirit of Taoists influences the painter deeply. Leaving the images behind, the works has shown the spirit of pursuing the romantic charm. Merging the egos with the big nature, I turn the merging part to the background scenery and transfer the flowing lines into the bushes and branches. As a result, the vision of the heart appears in the works gradually. The series works of《The heart‧Mountains and Waters》are not only the major points of this essay, but also the extension of the series works of《Resembling Waters》. Although the creating materials come from the West, the essence is based on the oriental spirit. Transferring the tradition methods into another, I try to open up a new way by merging my own living experiences. I assimilate the elements of crafts like : batik, print, tiles, watercolor and ink into his creation which tries to subvert the creation form of the thick, heavy and dry skin texture, and create the works with a moisture-filling way. The automatic skill dilutes the pigment and creates by splashing which maintains the texture of the canvas and presents the original texture. The hand movement makes the invisible and untouchable heart reveals naturally and shows the present mood which turns into a “like mountain like water” picture. The submitting mind realizes the “inaction leads to good deeds” spirit of Taoists. This creation essay has 5 chapters in total, the first chapter is an introduction which includes the motivation of the research, the purposes, the contents and the methods. The second chapter tries to open up the heart vision by discussing the abstracts which mainly analyses the abstract spirit of the oriental artists,
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Li, YI-XIAN, and 李怡嫺. "Design of Chair Landscape Painting Concept." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/khcsvk.
Full textAbstract:
碩士國立高雄大學
創意設計與建築學系碩士班
105
The scenery culture has the Wei Jin time, but the later period history evolution causes the scenery to become the independent artistic style, has opened the human with naturally in-depth intimate relation, then with Buddha, the road religion philosophy melts mutually infiltrates mutually, pale insipid has become the scenery art annotation unique.Middle this elaboration, will want to belong to the Eastern scenery character and style imperial sacrifices wind to manifest in the daily furniture, the hope development tradition will be the fresh idea design spirit. This research scope as embarks take the scenery connotation, from the scenery poetry and the landscape painting history, the discussion only pauses the vision to contemplate in by no means the domain, discovers symbolizes the Eastern esthetics emotion.Divides into five chapters in this research elaboration.The first chapter in view of the research motive, the goal and the construction induces grinds the object and the creation direction.The second chapter literature discusses the ancient to the scenery production cultural vein and the manifestation, locates the work creation the system mentality.Before the third chapter collection a chapter of literature then develops the work form, the material utilization and the preliminary idea.Fourth chapter carries on in view of the work is clear about the concept to compose and to act according to the ancient to the scenery opinion strengthening work vision mark.The fifth chapter research conclusion suggested ponder work material durableness, the functionality and the emotion mark proportional distribution, unfold the field and the work coordination. The author creates the vocabulary to provide the audience one to leave a parting note for somebody the daydream, unscrambles differently after the viewer, increase work different story, by vague unclear if has resembles without the creation intense gas field achieved the imperial sacrifices Italy spirit, taking advantage of breeds the vanguard by the ancient tradition the design spirit.
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Wen, Chang Hui, and 張惠雯. "“Mist, Tree, Cloud, and Mountain” in Southern Sung Landscape Painting: My Viewpoints and Paintings in Yangminshan Landscape." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/88924496506480148649.
Full textAbstract:
碩士中國文化大學
美術學系
99
Below is the summary of the essay: Chapter One: Introduction explains the motivation, purpose, and method of this thesis. The range focuses on landscape paintings of Southern Sung Dynasty. Also, refer to other’s study cases and researches on Sung Dynasty. Chapter Two: Scrutinize how Southern Sung painters construct the painting technique of “Mist, Tree, Cloud, and Mountain” on the artworks; and further, exemplify, compare and analyze the theme of these landscape paintings. Chapter Three: Explore the varieties of Yangmingshan—geographical features, climate, woods, mountain, and cloud—as the background of my landscape paintings. Chapter Four: Regard these natural painting features of Southern Sung Dynasty as my creative inspiration on landscape paintings. Chapter Five: Examine the idea and analysis of artworks and make a conclusion for my research. With the research of Southern Sung landscape painting, this chapter looks at my perspective for various scenery of Yangmingshan throughout the year and associates with my paintings. Through artwork conventions—theme, material, size, creative process, and review on landscape paintings, I recapitulate the main ideas of this thesis as my conclusion.
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Lynn-Davis, Barbara. "Landscapes of the imagination in renaissance Venice." 1998. http://catalog.hathitrust.org/api/volumes/oclc/42201080.html.
Full text
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Cheng, Sheng-Hsiang, and 鄭生祥. "Composition of Landscape Painting - Cheng Sheng-Hsiang Ink Painting Creations Treatise." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/xea48z.
Full textAbstract:
碩士國立臺灣師範大學
美術學系
101
Ink Painting has been significantly impacted by foreign cultures since the 19th century. Many people who love Ink Painting have attempted to create possibilities for Ink Painting to possess multiple factors through their efforts of various elaborations. However, when many of them appreciated western art philosophy blindly and looked down on the spirit of Chinese traditional painting, they made a serious logical mistake – No culture is created from nothing. We are heirs to our culture, and we are also the creators of culture at the same time. Based on this idea, I, the researcher, hoped to find out the nutrition in the philosophy of Chinese painting and the way to combine it with western art theory in order to clarify the creative structure of my own art works. This study explored from 5 aspects. First, the basis of theoretical thinking was explored. It was started from the formation of scenic and artistic conception. The transformation of aesthetic thinking and the different ways of expression were described. The art nutrition and creative thinking of the painters in different times were also explored. It was introduced into the expression of landscape paintings through simulation. Second, the principle of figure–ground in visual psychology was utilized in the idea of landscape painting creation. Third, the environmental Aesthetics was explored and the potentials of applying environmental issues to the creation of landscape paintings were also studied. Fourth, some specific artists were investigated. The artists who applied scenic writing, figure–ground, environmental issues to their art works were studied in order for us to explore and analyze their creative concepts, inheritance of thinking and creation. Fifth, the researcher’s personal art creations were studied. The creative concepts, themes, ideas, ways of expression of the researcher’s art pieces were analyzed with the exploration of the four aspects mentioned above, and the descriptions of the art pieces were included. The researcher’s personal creations were mainly landscape paintings, including the involvement of simulation, application of figure–ground and environmental issues. I attempted to explore the nutrition in Chinese art philosophy and to combine it with western art logics to be the creative thinking for presenting composition in a different way. I expected that the direction and road of my personal creation would be more practical and clear through this process.
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Po-ChinChen and 陳柏欽. "A Study of Landscape Painting Aesthetic of Song Imperial Painting Academy." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/57414884857924996584.
Full textAbstract:
碩士國立成功大學
藝術研究所
99
The academy landscape painting of the Northern and Southern Song Dynasties has changed from the full-view landscape style inherited from the Five Dynasties in the Northern Song Dynasty to small-view landscape and finally to corner landscape in the Southern Song Dynasty. The change of the styles is resulted from the change of aesthetic view points. The academy landscape painting of the Northern Song Dynasty pursuits the aesthetic taste that it seems that you can walk, look around, travel and reside in it, so that the viewer can feel that they are amidst the real mountains and waters. Vertical shafts or screens suitable for painting multiple and overlapping mountains and waters are often adopted and realistic objects are painted in the pictures. The small-view green mountains and rivers were turned into the corner landscape in the Southern Song Dynasty. Academy painters aim to reveal the state of mind in the picture, so as to enable viewers to have a taste of the aesthetic interest and creation purpose of the painter and to deepen the refined tendency of the literary and poetic nature of the academy landscape painting of the Southern Song Dynasty. Banners, hand scrolls and albums are adopted. Virtual objects symbolizing the real and large blanks prevail in the picture. This change of styles and aesthetic view points is influenced by the royal aesthetic taste, geographical environment, the concept of the combination of poetry, calligraphy and painting and the bent branch and flower painting. This paper can be divided into three parts. It firstly analyzes and compares the styles of academy landscape paintings of the Northern and Southern Song Dynasties, then compares aesthetic concepts subject to the change of the styles and finally finds out reasons leading to the change of the aesthetic concepts, so as to obtain a thorough understanding on the overall transformation of the academy landscape painting of the Northern and Southern Song Dynasties including the styles and the aesthetic view points.