Relevant bibliographies by topics / Picturesque garden

Academic literature on the topic 'Picturesque garden'

Author: Grafiati
Published: 14 March 2023

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Journal articles on the topic "Picturesque garden"

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Kim, Jin-Seob, and Jin-Seon Kim. "Haptic Perception presented in Picturesque Gardens - With a Focus on Picturesque Garden in Eighteenth-Century England -." Journal of the Korean Institute of Landscape Architecture 44, no. 2 (April 30, 2016): 37–51. http://dx.doi.org/10.9715/kila.2016.44.2.037.

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Choi, Jungsun. "English Garden in English Novel." Korean Society for Teaching English Literature 26, no. 2 (August 30, 2022): 351–75. http://dx.doi.org/10.19068/jtel.2022.26.2.13.

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This essay tries to prove that an English novel is a good textbook, in teaching English Garden, one of the major English cultural issues. English Garden, specifically, English Landscape Garden or Picturesque Garden is a critical issue in that it contributed to forming English Identity as rural England in the period of Industrial Revolution and Enclosure. To achieve that goal, it first examines the ideas and major characteristics of eighteenth century English Garden, including Lancelot Brown’s picturesque landscape design which was very popular from mid-eighteenth to the late eighteenth century in England. Next, it searches the descriptions of Landscape Garden in Jane Austen’s Pride and Prejudice, which is set in rural England in the late eighteenth century. Lastly, it connects the characteristics of Brown’s Landscape Garden, main features of which are spontaneity, naturalness, emphasis on sentiments and the symbol of liberty to the representation of the novel’s main characters, Elizabeth Bennet and Fitzwilliam Darcy, and their change and growth.
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Stewart, Robert Scott, and Roderick Nicholls. "Virtual worlds, travel, and the picturesque garden." Philosophy & Geography 5, no. 1 (February 2002): 83–99. http://dx.doi.org/10.1080/10903770120116859.

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Webster, Constance A. "Bonaparte's Park: a French picturesque garden in America." Journal of Garden History 6, no. 4 (October 1986): 330–47. http://dx.doi.org/10.1080/01445170.1986.10410549.

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GROVES, STEPHEN. "The Sound of the English Picturesque in the Age of the Landscape Garden." Eighteenth Century Music 9, no. 2 (July 30, 2012): 185–212. http://dx.doi.org/10.1017/s1478570612000048.

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ABSTRACTIn eighteenth-century England, painting, poetry and gardening were often labelled the ‘sister arts’. An increasing interest in English landscape scenes and an emerging taste for ‘nature tourism’ gave rise to the ‘picturesque’ movement. Contemporary writers seldom considered English music as part of this ‘sisterhood’, however, or treated music as a medium for conveying national scenic beauty. When the picturesque was discussed in connection with music, eighteenth-century critics tended to use the concept to explain the tactics of novelty and surprise encountered in German instrumental music. Plays with regularity and expectation were analogous to the surprises and irregularities of picturesque ‘beauty spots’ – natural features studied and imitated by contemporary landscape gardeners. Accordingly, recent musicological studies of the picturesque have also preferred to emphasize its kinship with the unconventional or subversive formal schemas in instrumental music by German composers.This article addresses the silent aporia in this discourse: the apparent absence of any participation in the picturesque movement by composers from England, the country most closely associated with this aesthetic. Focusing on the pictorialism and pastoralism of eighteenth-century English song texts and their musical treatment, this article reveals previously ignored connections between the veneration of national landscape and English vocal music. In consequence, the glee – a decidedly marginal genre in traditional eighteenth-century music historiography – emerges at the centre of contemporary aesthetic concerns, as the foremost musical vehicle for the expression of a distinctively English, painterly engagement with national landscapes.
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Garcia, Cecília Souza Gontijo, Patrícia Duarte de Oliveira Paiva, Schirley Fátima Nogueira da Silva Cavalcante Alves, and Mariel De Carvalho Rafael Salgado. "Transformations in the gardens and landscapes of the historical Traituba’s Farm." Ornamental Horticulture 23, no. 1 (January 24, 2017): 45. http://dx.doi.org/10.14295/oh.v23i1.953.

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The historic garden should be considered one that has cultural significance, being not only the squares and public gardens, but also its first manifests found in the form of orchard garden and vegetable garden in the historic farms of Brazil. Traituba’s Farm located in southern Minas Gerais, on the Royal Road route, is considered an important historical farm that emerged in the eighteenth century during the settlement process of this region. It was in the same period, that current rural landscape from southern Minas Gerais, composed of several other historic farms and the historic rural gardens began their formation process. The aim of this study was to conduct a historical and cultural rescue of the gardens and landscapes of the Traituba’s Farm. With this rescue, characterize and analyze their landscapes in their different ages, as well as identify and understand the main morphological changes of its gardens included in the architectural complex of the farm. This study focused on the period between 1725 and 2013. To trace the historical, cultural and landscape evolution, it was made researches through site visits, interviews, bibliographic and iconographic research, always following the principles of studies of historic gardens. Traituba’s Farm since its formation was always a region icon, because of its wealth, power and intense trade. Its landscapes have undergone many changes and are characterized initially as a pastoral model, then the bucolic and picturesque style, after the construction of the new farmhouse. With the decline of its activities, decades later the model that remained was the picturesque and pastoral as its origin. For a long time, its gardens were presented as orchards gardens and vegetable gardens with utilitarian characteristics, influenced by the Portuguese culture. Just in 1950s the front yard received a significant intervention and new species were planted where that the design can be seen until today. The significance of this paper is due to the historical value of the Traituba’s Farm, the magnificence of its architectural ensemble, peculiarity of gardens and landscapes, and great cultural representation in the region
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MAKI, Rie, and Kana SEKIMOTO. "Shigemori Mirei's View on "Picturesque Garden Layout by Sesshu"." Journal of The Japanese Institute of Landscape Architecture 71, no. 5 (2008): 445–48. http://dx.doi.org/10.5632/jila.71.445.

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Taylor-Leduc, Susan. "The Pleasures of Surprise: The Picturesque Garden in France." Senses and Society 10, no. 3 (September 2, 2015): 361–80. http://dx.doi.org/10.1080/17458927.2015.1130309.

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Knudsen, Karin Esmann. "“It was a sweet view – sweet to the eye and the mind.” Jane Austen og det pittoreske landskab." K&K - Kultur og Klasse 45, no. 123 (August 29, 2017): 291–308. http://dx.doi.org/10.7146/kok.v45i123.96911.

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It is obvious in Jane Austen’s novels that she was interested in the ongoing debate of ’the picturesque garden’, and in all her novels the characters are discussing how to look at the landscape, how to ‘improve’ the estates according to certain rules, and how taste and moral are connected to each other. The picturesque garden is inspired by paintings from the 17th century by Claude Lorraine and Nicolas Poussin, and in that way a clear line can be drawn back to Theocritus and Virgil, who introduced topoi as ‘locus amoenus’ and the ‘pastoral’. This article is examining how the relation is between these topoi, which are ideal landscapes that only exist in literature and painting, and the discussions of the design of real physical landscapes of contemporary England. It is difficult to decide on which side Austen was in the discussions of the picturesque. The article concludes that Austen’s voice is to be heard in the narrative, the development of the characters, and that she ends up with an attempt to reach an authentic relationship with landscape and nature that foreshadows a romantic feeling of nature. An appendix shows the later reception of Austen’s relationship to landscape, by analyzing a scene from modern films based on Jane Austen’s novels.
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Rychkov, Petro, and Nataliya Lushnikova. "Natural materiality: water as an active element of the gardens by Denis McClair at Volhynia." Teka Komisji Architektury, Urbanistyki i Studiów Krajobrazowych 11, no. 2 (September 17, 2016): 52–62. http://dx.doi.org/10.35784/teka.547.

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The paper gives coverage to peculiarities of water elements application in landscape compositions created in 19th century by gardener of Dionizy Mikler (Denis McClair) at Volhynia. Being an ambassador of English landscape garden style in this region D. Mikler seamlessly integrated picturesque natural and artificial water components in the garden structure. There are considered the role and ways of interaction of water elements with the landscape compositions by giving examples of Polish landowner´s residences in Gorodok, Mizoch, Mlyniv and Shpaniv.
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Dissertations / Theses on the topic "Picturesque garden"

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Muirhead, Anna. "Evergreen : [thesis] submitted in partial fulfillment of the requirements of the degree of Masters [Ie Master] of Fine Arts at Otago Polytechnic School of Art, Dunedin, New Zealand /." Conceptual Art Online- Anna Muirhead - About, 2008. http://www.imageandtext.org.nz/anna_m_about.html.

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Thesis (M.F.A.)--Otago Polytechnic, 2008. Includes bibliographical references.
Thesis typescript. Supervisors: Adrian Hall, Michele Beevors. Otago Polytechnic department: School of Art. "October 2008." Accompanied by a website of the exhibition of the author's artistic.
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Robba, Leo John. "The Artist’s Garden: Reshaping the Landscape." Phd thesis, 2017. http://hdl.handle.net/1885/129373.

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This practice-led research in painting investigates the artist's garden tradition and explores formal aspects and distinctive features of garden culture which I have observed in Australia and in England. My relationship to my own garden and my reflections on the processes of gardening are central to this project. I discuss the philosophical and conceptual underpinnings of my relationship with gardening and describe the processes of making garden landscape paintings of a variety of garden types, ranging from large formal English estate gardens visited on fieldwork, to much smaller private gardens in places such as Newcastle, Moree and the Blue Mountains. Parallels are drawn between the art of gardening and the art of painting.The resulting body of work includes numerous en plein air paintings as well as large-scale studio paintings, and I discuss the practical and aesthetic issues involved in working between these two modes. Two key artist gardeners feature for discussion and analysis: John Glover and Stanley Spencer. My reflections on garden design traditions and gardening as a practice have been informed by several valuable texts, two of the most significant are Robert Pogue Harrison's Gardens: An Essay on the Human Condition which gives a broad-ranging philosophical account of our human connection to gardens; and the collection of writings compiled in The Genius of Place: The English Landscape Garden, edited by John Dixon Hunt and Peter Willis, which gave me a better understanding of the development of the English garden landscape.
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Books on the topic "Picturesque garden"

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The picturesque garden in Europe. New York, N.Y: Thames & Hudson, 2002.

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Essay on gardens: A chapter in the French picturesque translated into English for the first time. Philadelphia: University of Pennsylvania Press, 2003.

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Calvano, Teresa. Viaggio nel pittoresco: Il giardino inglese tra arte e natura. Roma: Donzelli, 1996.

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Gardens and the picturesque: Studies in the history of landscape architecture. Cambridge, Mass: MIT Press, 1992.

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Foster, J. H. Victorian picturesque: The colonial gardens of William Sangster. Parkville, Vic., Australia: History Dept., University of Melbourne, 1989.

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Khisamova, D. D. Zhivopisnye sady Tukai︠a︡ =: Tukaĭnyn︠g︡ gu̇zăl bakchalary = Picturesque Gardens of Tukay. Kazanʹ: Zaman, 2006.

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Krafft, J. Ch. Plans des plus beaux jardins pittoresques de France, d'Angleterre et de l'Allemagne =: Plans of the most beautiful picturesque gardens in France, England and Germany = Pläne der schönsten und malerischsten Gärten Frankreichs, Englands und Deutschlands. Worms am Rhein: Wernersche Verlagsgesellschaft, 1993.

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Ruined by design: Shaping novels and gardens in the culture of sensibility. New York: Routledge, 2008.

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The Picturesque Garden in Europe. Thames & Hudson Ltd, 2004.

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Hunt, John Dixon. The Picturesque Garden in Europe. Thames & Hudson, 2002.

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Book chapters on the topic "Picturesque garden"

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van Oostveldt, Bram. "Ut Pictura Hortus/Ut Theatrum Hortus: Theatricality and French Picturesque Garden Theory (1771-95)." In Theatricality in Early Modern Art and Architecture, 164–77. Oxford, UK: Wiley-Blackwell, 2011. http://dx.doi.org/10.1002/9781444396744.ch12.

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Hussey, Christopher. "Garden Scenes." In The Picturesque, 128–85. Routledge, 2019. http://dx.doi.org/10.4324/9780429057595-5.

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Taylor-Leduc, Susan. "The Imperial Picturesque." In Marie-Antoinette’s Legacy. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2022. http://dx.doi.org/10.5117/9789463724241_ch04.

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When Empress Joséphine accepted the dissolution of her marriage to Emperor Napoléon in December 1809, she became the first and only divorced Empress of France. Napoléon married the eighteen-year-old Marie-Louise, Marie-Antoinette’s grandniece, on April 1, 1810. From 1810 to 1814, Napoléon continued to support Joséphine’s garden patronage at Malmaison while installing Marie-Louise at the Petit Trianon. The emperor thus sustained a competitive garden culture between his spouses while pursuing his own agenda at imperial sites. For all three patrons, recalling Marie-Antoinette’s legacy at the Petit Trianon was an entangled memory, both personal and political, that conditioned the dissemination of the picturesque garden style.
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Taylor-Leduc, Susan. "Prologue: Consorts and Fashionistas." In Marie-Antoinette’s Legacy. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2022. http://dx.doi.org/10.5117/9789463724241_prol.

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The prologue questions one of the central tenets of eighteenth-century French garden historiography, which holds that the English garden style was exported from Britain to France. Examining the marriage contracts of Queen Marie-Antoinette and empresses Joséphine, Marie-Louise, and Eugénie reveals that each consort developed her gardens as a liminal zone within the parameters of court patronage. The prologue situates the picturesque as a design strategy rather than an aesthetic movement. The patrons are considered celebrities, who championed the picturesque as a signifier of their taste, a means to project their agency and a place to curate their legacies.
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Taylor-Leduc, Susan. "Epilogue." In Marie-Antoinette’s Legacy. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2022. http://dx.doi.org/10.5117/9789463724241_epil.

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Emperor Napoleon III charged politicians, city planners, and engineers to develop a public park system in Paris that promoted civic equality and gender neutrality. Co-opting the picturesque as a style agreste, or public park style, they eliminated the liminal experience that had informed the development of French picturesque aesthetics. By shifting picturesque garden design to the public sphere, the suppression of liminal zones effectively erased the entangled and collective memories that the patronconsorts Marie-Antoinette, Joséphine, Marie-Louise, and Eugénie had deployed to assert their agency. The epilogue probes how French garden historiography placed these women on the margins, rather than the generative center, of picturesque garden design in order to promote the public park as a national endeavor.
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"2. Theaters, Gardens, and Garden Theaters." In Gardens and the Picturesque: Studies in the History of Landscape Architecture. MIT Press, 1992. http://dx.doi.org/10.37862/aaeportal.00056.006.

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Taylor-Leduc, Susan. "Introduction: Spatial Legacies." In Marie-Antoinette’s Legacy. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2022. http://dx.doi.org/10.5117/9789463724241_intro.

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Queen Marie-Antoinette and empresses Joséphine, Marie-Louise, and Eugénie are commonly perceived as profligate garden patrons pursuing ostentatious pleasures at the Petit Trianon, Versailles, and Malmaison. This book disrupts this narrative, arguing instead that their gardens were liminal zones at the epicenter of court societies, venues where each patron demonstrated her agency and cultural clout. Drawing upon scholarship in spatial, sensorial, and cultural memory studies, this book situates these four patrons and their picturesque gardens at the forefront of French garden history.
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"Postscript: Gardens in Utopia: Utopia in the Garden." In Gardens and the Picturesque: Studies in the History of Landscape Architecture. MIT Press, 1992. http://dx.doi.org/10.37862/aaeportal.00056.015.

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Taylor-Leduc, Susan. "A Gambling Queen." In Marie-Antoinette’s Legacy. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2022. http://dx.doi.org/10.5117/9789463724241_ch01.

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Chapter 1 offers a new interpretation of Marie-Antoinette’s design of the Jardin de la Reine and the Hameau at the Petit Trianon from 1775 to 1789. The queen transformed her garden into a gamescape transposing the thrill of high stakes gambling sessions to performances of surprise when strolling in her gardens. The queen’s gamescapes emphasized her agency and suggested how others could experience self-hood in her gardens. Aligning surprise with embodiment enhances our understanding of the queen’s role in the dissemination of the picturesque prior to the French Revolution.
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Collins, Wilkie. "The Third Scene." In No Name. Oxford University Press, 2008. http://dx.doi.org/10.1093/owc/9780199536733.003.0006.

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Chapter I The old Archiépiscopal Palace of Lambeth, on the southern bank of the Thames—with its Bishop’s Walk and Garden, and its terrace fronting the river—is an architectural relic of the London of former times, precious to all lovers of the picturesque, in the...
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Conference papers on the topic "Picturesque garden"

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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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Losq, Juliette. "Layered Visions In The Teleorama: Constructing Spaces Of Ruination Through An Expanded Drawing Practice." In SPACE International Conferences April 2021. SPACE Studies Publications, 2022. http://dx.doi.org/10.51596/cbp2021.qpkd6594.

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Abstract This paper examines whether the form of the Teleorama or paper peep show can be used to generate new ways of making and exhibiting drawings of contemporary sites of ruination. The Teleorama will be used as a physical and conceptual vehicle for testing out a diverse range of investigations relating to form and content in drawing practice. Within my practice, paper ruins, inspired by Teleoramas, are constructed and used as maquettes from which to make two-dimensional drawings that are retranslated into large-scale, three-dimensional installations. Through the process of (re) construction, the research will develop an understanding of the Teleorama as a partially imagined, partially ‘real’ space that can transport the viewer conceptually from one place to another. I use the Picturesque, as a spatial and perceptual theory relating to painting and garden design, to explore how the Teleorama can be conceptualised as both a series of drawings on two-dimensional planes and a three-dimensional space, focusing on the fundamental ideas of ‘absorption’ and ‘theatricality’ as expounded by Michael Fried (1980), and ‘immersion’ as expounded by Arnold Berleant (2004). By identifying aspects of the Teleorama that cannot be compared to either paintings or gardens as spaces, I foreground its unique ability to represent the apparent collapse of space and time in a material form and enable an oscillation between two- and three-dimensional design and construction. By focusing on how space is created and experienced within selected contemporary installation practices, I aim to position my practice within the broader discursive fi eld of installation, distinguishing their use of space from my use of the Teleorama to create immersive drawn environments reinterpret ruin sites in gallery settings. Through interrogating and reconfi guring the historical form of the Teleorama, I aim to propose new models of installation practice within the field of contemporary drawing. Keywords: installation, drawing, space, picturesque, absorption, immersion
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