Relevant bibliographies by topics / Picturesque

Academic literature on the topic 'Picturesque'

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Published: 4 June 2021
Last updated: 1 August 2024

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Journal articles on the topic "Picturesque"

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Heimlich, Timothy. "Romantic Wales and the Imperial Picturesque." Modern Language Quarterly 81, no. 2 (June 1, 2020): 169–92. http://dx.doi.org/10.1215/00267929-8151559.

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Abstract This essay argues that the aesthetic category named the picturesque was first systematized in a Welsh colonial context and that picturesque looking always reflects, to some degree, its initially imperialist function. While the picturesque rapidly acceded to a preeminent place in British travel and landscape writing, its rise was contested by Welsh and working-class writers like the antiquarian poet Richard Llwyd (1752–1835). By conspicuously failing to impose picturesque features on a carefully historicized landscape, Llwyd’s poem Beaumaris Bay (1800) lays bare the picturesque’s antihistorical drive to eradicate local difference. Renewed critical attention to early attempts to establish an antipicturesque aesthetic may uncover important precursors to present-day postcolonial and transnational theory, precursors that can enrich the ongoing global turn in literary history.
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McIntosh, Monique. "Picturesque." Wasafiri 33, no. 2 (April 3, 2018): 80–85. http://dx.doi.org/10.1080/02690055.2018.1431187.

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Townsend, Dabney. "The Picturesque." Journal of Aesthetics and Art Criticism 55, no. 4 (1997): 365. http://dx.doi.org/10.2307/430924.

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Ljungquist, Kent P. "AMERICAN PICTURESQUE." Resources for American Literary Study 28, no. 1 (January 1, 2002): 171–73. http://dx.doi.org/10.2307/26366941.

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Ljungquist, Kent P. "AMERICAN PICTURESQUE." Resources for American Literary Study 28, no. 1 (January 1, 2002): 171–73. http://dx.doi.org/10.2307/resoamerlitestud.28.2002.0171.

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Osborne, John. "Urban Picturesque." Journal of the Society for the Study of Architecture in Canada 46, no. 1 (2021): 4. http://dx.doi.org/10.7202/1082357ar.

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Bainbridge, William. "Picturesque Lost." Performance Research 24, no. 2 (February 17, 2019): 100–108. http://dx.doi.org/10.1080/13528165.2019.1624045.

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TOWNSEND, DABNEY. "The Picturesque." Journal of Aesthetics and Art Criticism 55, no. 4 (September 1, 1997): 365–76. http://dx.doi.org/10.1111/1540_6245.jaac55.4.0365.

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Blackmar, Elizabeth, and John Conron. "American Picturesque." Journal of the Early Republic 22, no. 3 (2002): 546. http://dx.doi.org/10.2307/3124825.

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Bramen, Carrie Tirado, and John Conron. "American Picturesque." New England Quarterly 74, no. 2 (June 2001): 320. http://dx.doi.org/10.2307/3185482.

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Dissertations / Theses on the topic "Picturesque"

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Nottingham, Amy Lou. "Hilltown architecture : beyond the picturesque." Thesis, Georgia Institute of Technology, 1987. http://hdl.handle.net/1853/23389.

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Ramsier, Allen Lewis. "Picturesque America: Packaging America for Popular Consumption." W&M ScholarWorks, 1985. https://scholarworks.wm.edu/etd/1539625288.

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Swingle, Tyler R. "Picturesque prairies : productive preservation on a petroleum planet." Thesis, Massachusetts Institute of Technology, 2018. http://hdl.handle.net/1721.1/115624.

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Thesis: M. Arch., Massachusetts Institute of Technology, Department of Architecture, 2018.
This electronic version was submitted by the student author. The certified thesis is available in the Institute Archives and Special Collections.
Cataloged from student-submitted PDF version of thesis. "Permit Proposal 2018.01.18." Seal of the Department of Terra Firma, United States of America printed on title page. "Permit Proposal: Maah Daah Prairie; Plains to Ports Partnership. This document was produced, edited and printed by the U.S. Department of Terra Firma under the Plains to Ports Partnership in cooperation with the state of North Dakota"--Page 7.
Includes bibliographical references (pages 161-163).
Fires burn bright atop the flare stacks in the distance as bison watch from behind the two-meter high fence of the Theodore Roosevelt National Park. In this modern scene, complex geographic formations in North Dakota's badlands have established a unique shared topography between an assemblage of seemingly disparate actors: engines, bison and humans. The Bakken formation 6 km below the surface of the earth provides enough resources to encourage rhizomatic deployment of oil and gas wells while the sedimentary surface, eroded from melting snow, provides 'scenic' lands for tourists and prairie ecosystems for bison. The socio-political distinction between actors has produced abstract borders and delineations in the form of habitats and land-use policies. Materialized through fences, these policies have created autonomous operating systems like fracture drilling and wildlife conservation that are specified for a single or hierarchical order of actors. This not only facilitates settler practices of separation and domination, but also encourages unaccountable externalities outside of the operating systems. Located between two [and a half] National Park units, this project embraces the multiple identities of the subterranean region and proposes a design strategy that engages the three actors as equal shareholders. Acknowledging the actors as an assemblage reveals material kinships and commitments to the geography that offer design considerations for shared spaces and memories. The project is composed of three archetypes, each weaving and entangling the actors within each other's programs and seasonal patterns. Through this built environment, the archetypes frame a physical and conceptual shared geography
by Tyler R. Swingle.
M. Arch.
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Hicks, James. "David Roberts' Egypt & Nubia as imperial picturesque landscape." Thesis, University of Hertfordshire, 2010. http://hdl.handle.net/2299/4595.

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This thesis examines and contextualises historically significant aspects of the ways in which David Roberts’ lucrative lithographic publication Egypt and Nubia (1846-49) represented the “Orient”. The analysis demonstrates that Roberts used tropes, particularly ruins and dispossessed figures, largely derived from a revised version of British picturesque landscape art, in order to depict Egypt as a developmentally poor state. By establishing how this imagery was interpreted in the context of the early Victorian British Empire, the thesis offers an elucidation of the connection between British imperial attitudes and the picturesque in Roberts’ work. The contemporary perception of Egypt and Nubia as a definitive representation of the state is argued to relate, not only to the utility of the picturesque as an “accurate” descriptive mode, despite its highly mediated nature, but also to the ways in which Britain responded to shifting political relationships with Egypt and the Ottoman Empire between 1830 and 1869. This political element of the research also suggests a more problematised reading of Robert’s work in relation to constructs of British imperialism and Edward Said’s theory of ‘Orientalism’, than has been provided by previous art historical accounts. A significant and innovative feature of the research is its focus on extensive analysis of textual descriptions of Egypt in early Victorian Britain and contemporary imperial historiography in relation to characteristics displayed in Roberts’ art. This offers a basis for a more specific, contextual understanding of Roberts’ work, as well as historically repositioning nineteenth-century British picturesque art practice and the visual culture of the early Victorian British Empire.
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Jones, Christopher. "Picturesque urban planning : Tunbridge Wells and the suburban ideal : the development of the Calverley Estate, 1825-1855." Thesis, University of Oxford, 2017. https://ora.ox.ac.uk/objects/uuid:c0a18799-673c-4a29-b4f4-d3f525deea00.

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This study addresses the development of the English suburb in the second quarter of the nineteenth century. Its proposition is that suburbs were where people wanted to live, and not just to avoid the dirt and disease of the city. They had an appeal beyond the practical. Whether it was a feeling of security, independence, oneness with nature, or of living in 'a place apart', there was an emotional, culturally-conditioned attraction. The specific focus is on the development of the Calverley estate in Tunbridge Wells. The point is not that Calverley was typical, but that it represented a suburban 'ideal'. It was created by a London developer, John Ward, to be just such a 'place apart', an idyllic retreat for a wealthy metropolitan middle class. The study starts by considering Ward's 'vision' for Calverley. Ward had been a major investor in Regent's Park. The study suggests that Calverley, with its 'picturesque' landscape setting, mirrored the fantasy world created by John Nash in Regent's Park. In Calverley, though, Ward and his architect, Decimus Burton, built individual houses in gardens, a model for what was later to become 'a universal suburbia'. A second section considers what attracted Ward's customers. It suggests four influences: the notion of the Picturesque; historical associations; idealised visions of the countryside; and the appeal of certain architectural styles. The final part then examines those customers in more detail. They were not drawn from the existing residents of Tunbridge Wells, but were metropolitan/cosmopolitan incomers (70% of them women). They could have lived anywhere. The study uses five themes of suburban historiography: movement, control, separation, withdrawal and identity, to show how they moulded the physical and social space around them to further achieve their ideal; to create, in the words of one advertisement, this 'enviable little English Elysium'.
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Ballantine, Jessica Louise. "Reframing the picturesque in contemporary Australian and Canadian nature writing." Thesis, University of Leeds, 2016. http://etheses.whiterose.ac.uk/17071/.

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This thesis explores aesthetic representation in Australian and Canadian nature writing from the turn of the twenty-first century to the present day. I analyse nine representative texts to explore the relationship between aesthetic representation of the so-called natural environment and the texts’ central themes, which I identify as (i) belonging (in place) (ii) digging (uncovering colonial history), (iii) walking (pilgrimage), and (iv) working (ecological rehabilitation). In connection with each theme, I examine how the environment is perceived, how notions of aesthetic value are constructed around it, and how aesthetic language¬¬ contributes to the narrative and argument of the text. In so doing, I seek insight from contemporary environmental aesthetics as developed by philosophers including Allan Carlson, Yuriko Saito, and Arnold Berleant. I argue that recent nature writing from both Australia and Canada shows an increasingly self-conscious engagement with the politics of representation that is often characterised by anxiety on the part of the narrator about representation and the possibility of the ‘truthful framing’ of place. This leads recent writers to enquire (albeit with different levels of success) into the discourses that drive beliefs about the natural environment. Some writers put pressure on popular modes of perception such as the picturesque by disrupting conventional representational styles, while others use those popular modes as the basis for a normative model of aesthetics and a spur to action. I suggest that one of the distinctive features of recent Australian and Canadian nature writing is its critical engagement with ways of seeing and describing nature that were developed during the colonial period, in particular in debates surrounding picturesque aesthetics, which in turn influenced travel and nature writing. In this way, much of contemporary Australian and Canadian nature writing can be seen as engaging, either explicitly or implicitly, in a critical project of reframing the picturesque.
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Scales, Cosima. "Interrupted Landscape: A Picturesque Approach to Contemporary Paintings of Nature." Thesis, Griffith University, 2018. http://hdl.handle.net/10072/380533.

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This research project is concerned with the way in which nature is idealised through images, and questions how painting might be able to address this using visual strategies borrowed from the 18th Century aesthetic traditions of the Picturesque. Contemporary popular landscape images, often photographs, present an ideal of nature that is vast, nurturing and self-sustaining. To submit to this ideal, though enjoyable, is to overlook the lived reality of nature in all its extremes as well as the cultural and environmental problems linked to idealised views of nature. By drawing on historical and contemporary literature surrounding the Picturesque, this project explores the ways in which the closely related concepts of ‘variety’, ‘roughness’, ‘irregularity’ and ‘intricacy’ can inform contemporary landscape paintings that reflect the complex experience of nature in the real. The outcomes of this studio-based research project demonstrate how an expanded notion of these methods—including choices in composition, colour, the application of paint, and the interaction of works in a space—disrupt idealised representation by fracturing or interrupting the image, preventing a cohesive and therefore reductive reading of the landscape. This interrupted form of representation operates similarly to real nature, which refuses to be taken in at one glance. The paintings thus offer seductive representations of nature that nevertheless resist the ideal views of popular landscape imagery.
Thesis (Masters)
Master of Visual Arts (MVA)
Queensland College of Art
Arts, Education and Law
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Waddington, Keith. "Pictures and poetry : debunking the bunk : an examination of picturesque influence." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0005/MQ39928.pdf.

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Dyck, Dorothy. "The development of the picturesque and the Knight-Price-Repton controversy." Thesis, McGill University, 1991. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=22460.

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In recent years the history of the garden has enjoyed increased attention within scholarly circles. Of particular interest is the history of the formation of the Picturesque garden. The ideas of three men, Richard Payne Knight, Uvedale Price, and Humphry Repton, are central to the evolution of Picturesque theory as related to the garden. The conflict among them has become known as the Picturesque Controversy. Due to misguided interpretations by modern scholars, however, the essence of the dispute has been obscured. Through a discussion of the development of Picturesque theory and a comparison of the actual points of difference between the above mentioned theorists, this paper proposes to expose the essential elements of the debate. It also demonstrates that, while all three participants are attempting to reach beyond the practices of their own century, it is Humphry Repton who distinguishes himself as the true herald of modern society and its attitude toward the garden.
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Kanatsu, Kazumi. "Picturesque tours in Scotland : forming an idea of the British nation." Thesis, University of York, 2000. http://etheses.whiterose.ac.uk/14179/.

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The aim of this thesis is to elucidate the relationship between the picturesque and the emergence of British national identity. It explores Scottish travel writings from the 1770s to the early nineteenth century, in order to examine the ways in which tourists employ the discourse of the picturesque to imagine the British nation. The introduction sets out the questions this thesis attempts to address and defines the scope of discussion. It also outlines the general arguments surrounding the picturesque and specifies the way in which picturesque descriptions of Scotland during the period will be approached. Chapter One examines the writings of early tourists to Scotland such as Thomas Pennant, Samuel Johnson and William Gilpin. Scotland's association with Jacobitism prevents Pennant and Johnson from perceiving the region as an integral part of the British nation and also prevents them from appreciating the natural beauty of Scotland. This chapter shows how Gilpin assimilates Scotland's historical distinctiveness to his idea of picturesque beauty. Chapter Two surveys the description of landscape by tourists who are particularly interested in the economic improvement of Scotland. The 1770s and 1780s in Scotland are marked by various endeavours to assimilate the region to the system of capitalist economy. The main interest of this chapter lies in the correspondence between picturesque discourse and contemporary economic discourse, and its attempt to elucidate the ways in which the picturesque helps the development of commercial society to appear as a natural process. Chapter Three investigates the relationship between women's taste for the picturesque and their sense of citizenship. In particular, it focusses on Dorothy Wordsworth's Recollections of a Tour Made in Scotland. The Recollections demonstrates how Dorothy appropriates the picturesque to define her identity, and suggests that the equivocal quality of women's picturesque language in some ways corresponds to their ambivalent status in modem commercial society. Chapter Four concludes this inquiry into the picturesque's nation-projecting function by an examination of Walter Scott's idea of the picturesque. His first novel, Waverley, shows how he employs the picturesque to articulate his historical sense of Britishness. This chapter illustrates how Scott uses his literary fictions to propagate a picturesque image of the British nation among the general public.
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Books on the topic "Picturesque"

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Kempenaers, Jan. Picturesque. Edited by Meyerdirk D. E, Manders Mark 1968-, and Willems Roger. [Amsterdam]: Roma Publications, 2012.

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Hammond, Reginald J. W. Picturesque Cornwall. 2nd ed. Sevenoaks: J. Salmon, 2000.

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Malcolm, Andrews, ed. The picturesque. Mountfield, East Sussex, U.K: Helm Information, 1994.

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Fitchat, Sandra. Picturesque Swakopmund. Cape Town: Struik Travel & Heritage, 2010.

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Gönczi, Ambrus. Picturesque Ferencváros. Budapest: Ráday Könyvesház, 2006.

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Hammond, Reginald J. W. Picturesque Cornwall. Sevenoaks: J. Salmon, 1995.

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Jackson, Sarah C. The picturesque view. [Jacksonville, Fla.] (P.O. Box 12354, Jacksonville 32209: [Sarah C. Jackson, 1991.

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1967-, Jacobs Steven, Maes Frank, and Stedelijk Museum voor Actuele Kunst (Ghent, Belgium), eds. Beyond the picturesque. Gent: Stedelijk Museum voor Actuele Kunst, 2009.

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Louis, Stevenson Robert. Edinburgh: Picturesque notes. New York, NY: Barnes & Noble Books, 1993.

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Coward, T. A. Picturesque Wirral (Picturesque Cheshire). Mara Books, 1998.

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Book chapters on the topic "Picturesque"

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Halimi, Suzy. "The Picturesque." In A Handbook to English Romanticism, 213–15. London: Palgrave Macmillan UK, 1992. http://dx.doi.org/10.1007/978-1-349-22288-9_63.

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Notodikromo, Adam. "Picturesque Storage." In Learn Rails 6, 317–53. Berkeley, CA: Apress, 2020. http://dx.doi.org/10.1007/978-1-4842-6026-5_7.

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Halimi, Suzy. "The Picturesque." In A Handbook to English Romanticism, 213–15. London: Palgrave Macmillan UK, 1992. http://dx.doi.org/10.1007/978-1-349-13375-8_63.

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Herrington, Susan, and Dominic McIver Lopes. "Neo-picturesque." In Philosophical Perspectives on Ruins, Monuments, and Memorials, 133–46. New York : Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9781315146133-12.

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Lefaivre, Liane, and Alexander Tzonis. "The Picturesque Revolt." In Architecture of Regionalism in the Age of Globalization, 47–62. 2nd edition. | New York : Routledge, 2021.: Routledge, 2020. http://dx.doi.org/10.4324/9780367281182-4.

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Yamaguchi, Arisa. "Making it ‘Picturesque’." In Sartorial Japonisme and the Experience of Kimonos in Britain, 1865-1914, 93–110. New York: Routledge, 2023. http://dx.doi.org/10.4324/9781003334255-4.

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Groves, Stephen. "The picturesque oratorio." In The Sound of the English Picturesque, 174–225. New York: Routledge, 2023. http://dx.doi.org/10.4324/9781003293378-9.

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Charlesworth, Michael. "Theories of the Picturesque." In A Companion to British Art, 351–72. Oxford: Blackwell Publishing Ltd, 2013. http://dx.doi.org/10.1002/9781118313756.ch15.

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Modiano, Raimonda. "Coleridge and the Picturesque." In Coleridge and the Concept of Nature, 8–27. London: Palgrave Macmillan UK, 1985. http://dx.doi.org/10.1007/978-1-349-07135-7_2.

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Fichtelberg, Joseph. "Emily Dickinson’s Picturesque War." In Exceptional Violence and the Crisis of Classic American Literature, 217–52. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-07845-3_7.

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Conference papers on the topic "Picturesque"

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Mantziaras, Panos. "The contemporary picturesque." In International Conference Virtual City and Territory. Guadalajara: Centre de Política de Sòl i Valoracions, 2007. http://dx.doi.org/10.5821/ctv.7469.

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Гринина, Е. Н. "«PICTURESQUE HAIKU» BY ELENA BRANOVITSKAYA." In Месмахеровские чтения — 2024 : материалы междунар. науч.-практ. конф., 21– 22 марта 2024 г. : сб. науч. ст. / ФГБОУ ВО «Санкт-Петербургская государственная художественно-промышленная академия имени А. Л. Штиглица». Crossref, 2024. http://dx.doi.org/10.54874/9785605162926.2024.10.19.

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Японская поэзия и живопись всегда привлекали российских литераторов и художников. Национальная форма стихосложения хайку и в наши дни находит не просто отклик в душах, а становится для некоторых из них формой самореализации. Одним из таких примеров является творчество петербургской художницы Елены Брановицкой. Обращаясь в своей художественной и педагогической практике к технике энергетической живописи, она развивает собственное творческое направление, выражающееся в соединении живописи и слова Japanese poetry and painting have always attracted Russian writers and artists. Even today, the national form of haiku poetry not only finds a response in souls, but for some of them it becomes a form of self-realization. One such example is the work of St. Petersburg artist Elena Branovitskaya. Turning to the technique of energy painting in her artistic and pedagogical practice, she develops her own creative direction, expressed in the combination of painting and words.
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Safley, Nick. "The Post-Digital Picturesque: Sinister Dishevelment?" In 111th ACSA Annual Meeting Proceedings. ACSA Press, 2023. http://dx.doi.org/10.35483/acsa.am.111.21.

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Sidney K. Robinson’s 1988 essay, The Picturesque: Sinister Dishevelment, critically reframes the English Picturesque through the social and political implications of compositional strategies and mechanisms used for landscape design. Most critically, Robinson identifies sinister qualities of the Picturesque in the hidden power, or power in reserve, that gentlemanly landscape designers used to create scenes in the landscape that only they could discern as having been either labored upon or the result of natural decay. Today some post-digital practices have continued the digital project in a picturesque mode similar to these historic landscape designers. These designers and practices obscure authorial labor in their work with simulations of disorder or material decay. Labor that was evident and abundant in designs of earlier digital work is rendered ambiguous. Viewers are left unsure if the computer-simulated these scenes using computational physics or if a person has directly authored the digital model or image. Computational power is intentionally rendered ambiguous. For these practices, digital expertise and labor have continued, but it is not clear where the computer’s agency stops and starts in the design process. The labor required to produce this sort of work appears indiscernible to all but the expert viewer when, in fact, the practices spared no effort in creating the appearance of a casual lack of labor. Only those knowledgeable of the post-digital techniques used to generate this work can discern where labor has been applied, creating a novel form of sinister dishevelment. Today’s post-digital picturesque does not protect an aristocratic elite as those of the 18th century did with parlor talk but continues the digital project with intentionally limited discourse while sidestepping its excess. The reuse of Sidney Robinson’s essay and a comparison to alternative post-digital practices provides a lens to understand these post-digital picturesque practices and the implications of concealing the indexes of labor.
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Bettadapura, Vinay, Daniel Castro, and Irfan Essa. "Discovering picturesque highlights from egocentric vacation videos." In 2016 IEEE Winter Conference on Applications of Computer Vision (WACV). IEEE, 2016. http://dx.doi.org/10.1109/wacv.2016.7477707.

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Nekrasova-karateeva, O. L., and E. P. Stalinskaya. "YALTA LANDSCAPE AS AN AUTHORIAL PICTURESQUE SOUVENIR." In ОБРАЗ, ЗНАК И СИМВОЛ СУВЕНИРА. Санкт-Петербург: Федеральное государственное бюджетное образовательное учреждение высшего образования «Санкт-Петербургская государственная художественно-промышленная академия имени А.Л. Штиглица», 2022. http://dx.doi.org/10.54874/9785604936320_104.

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Mironov, V. S. "THE GENRE OF LANDSCAPE AND ITS PICTURESQUE FEATURES." In ЦВЕТ В ПРОСТРАНСТВЕННЫХ ИСКУССТВАХ И ДИЗАЙНЕ. Санкт-Петербург: Федеральное государственное бюджетное образовательное учреждение высшего образования «Санкт-Петербургская государственная художественно-промышленная академия имени А.Л. Штиглица», 2022. http://dx.doi.org/10.54874/9785604868850_255.

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Li, Fengyi, and Xiong Li. "Picturesque Garden Design in Early 18th Century: The Stourhead." In 2nd International Conference on Arts, Design and Contemporary Education. Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/icadce-16.2016.109.

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Kambesis, Patricia, Ira Sasowsky, and Brittiny Moore. "Sinkholes and karst in Puerto Rico: Picturesque and problematic." In National Cave and Karst Research Institute Symposium 8. National Cave and Karst Research Institute, 2020. http://dx.doi.org/10.5038/9781733375313.1055.

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Macken, Jared. "Architectural Feud! The Link Between Adhocism, Collage City, and the Radical Picturesque." In 110th ACSA Annual Meeting Paper Proceedings. ACSA Press, 2022. http://dx.doi.org/10.35483/acsa.am.110.91.

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This paper explores a disciplinary feud between theoretical figures of 20th century architectural discourse, and discovers an overlooked and forgotten architectural discourse on the city. The participants of the feud included Nathan Silver and Charles Jencks (authors of Adhocism) on one side of the fight, Colin Rowe and Fred Koetter (authors of “Collage City”) on the other, and Reyner Banham who entered the fray in the middle as a mediator. While the feud was quite stinging—it consisted of an accusation of plagiarism from Nathan Silver—it was completely forgotten. This was because the fight occurred in the letters to the editor section of Architectural Review in 1975, with each jab and blow delayed across three different editions. Yet it is worth looking at since it links these two unexpectedly comparable projects—namely Adhocism and Collage City—with a very unlikely yet similar third project brought into the discussion by Reyner Banham. This third project was Hubert de Cronin Hastings’s theory he described as a Radical Picturesque which he details as an architectural manifesto for designing and reconstructing the post war English city. Radical Picturesque was described in Hastings’s article “Townscape” and published in Architectural Review in 1949. The article’s namesake and surface-level ideas lead to Gordon Cullen’s book The Concise Townscape (which was indeed inspired by Hastings’s original article), but it can be argued that the original text coupled with Banham’s link to Adhocism and “Collage City,” was not fully nor sufficiently realized in Cullen’s book or subsequent iterations of the Townscape movement. These three theories for the design of the city, when looked at together, has the potential to shed new light on 20th century architectural discourse on the city. This paper seeks to illuminate the original ideas that were a part of the Radical Picturesque in order to reinsert an architectural project on the city that was lost to dominant postwar architectural discourse.
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Garcia-Gasco Lominchar, Sergio. "INFLUENCIAS PINTORESCAS DE LE CORBUSIER EN EL PABELLÓN BRASILEÑO DE OSAKA´70." In LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.992.

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Resumen: Iñaki Ábalos, en su libro “Atlas pintoresco” traza una línea de investigación sobre el Movimiento Moderno y su relación con la naturaleza y el paisaje. El autor establece un análisis en el que desenmascara los elementos pintorescos en la obra de Le Corbusier de manera que, aun apareciendo muchos de ellos en estado “latente” desde sus primeros postulados teóricos, paulatinamente y “casi de forma secreta” se irán adueñando de su modo de proyectar hasta conquistar todas las escalas de la arquitectura en su etapa final. Algunas de las características arquitectónicas de la llamada Escuela Paulista parecen ser a su vez influencia de la obra tardía de Le Corbusier. El pabellón de Paulo Mendes para la Exposición Universal de Osaka´70 nos sirve en este artículo para establecer un análisis de determinados aspectos pintorescos de Le Corbusier que subyacen en la arquitectura brasileña en general y de Paulo Mendes en particular. Abstract: Iñaki Abalos develop in “Atlas pintoresco” a research about Modern Movement and its relationship with nature and landscape. The author provides an analysis which unmask the picturesque elements in the work of Le Corbusier. These elements, even being "latent" in its earliest theoretical postulates, gradually and "almost secretly" will take over his way of projecting to conquer all scales of architecture in its final stage. Some of the architectural features of the so-called Paulista School seems to have influences of the later work of Le Corbusier. Paulo Mendes pavilion for the World Expo Osaka'70 can serve to establish an analysis of some of the picturesque aspects of Le Corbusier underlying brazilian architecture in general and Paulo Mendes in particular. Palabras clave: Pintoresco; Escola Paulista ; Le Corbusier; Paulo Mendes da Rocha; Naturaleza; Paisaje. Keywords: Picturesque; Paulista School; Le Corbusier; Paulo Mendes da Rocha; Nature; Landscape. DOI: http://dx.doi.org/10.4995/LC2015.2015.992
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