Dissertations / Theses on the topic 'Picturesque'

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.

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.

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'.

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.

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
Full Text

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.

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.

The focus of the investigation is the relationship between photography and The Picturesque. The principles of the Picturesque movement of the 18th century are drawn into a discussion of our current understanding of the picturesque photograph with the aim of revealing continuity in aesthetic values and subjective relationships with landscape. Vantage point is explored as an integral element of the Picturesque effect, with compositional structure being recognised as a means of centring the viewer within a subject/object dynamic. Lacan's notion of a subjectivity initiated by vision, and desirous of a state of wholeness, is connected with a pictorial form that is compositionally self-contained, and inviting of a view of rural Otherness where a resilient Picturesque figure appears embedded in 'nature'. The instability of the subject of language (the symbolic order) is in this way related to a pursuit of the corporeal in a wild (but imaginary) landscape. In addition to an engagement with the visual motifs that define the Picturesque, such as irregular form and ruin and decay, the temporal register of the Picturesque is examined. Associations with nostalgia are developed to consider the Picturesque photograph as a crystallization of actual and virtual conceptions of time, where the captured instant resonates with echoes of the past and alludes to future desire. With a renewed understanding of Picturesque principles, recent photography is examined with the intention of revealing a continuing presence of the original Picturesque aesthetic. Documentary, as a form commonly associated with factual recording, is scrutinized for tropes of Picturesque effect with presumptions of photography's indexical link with the real being reassessed. The empirical and aesthetic realms, often seen as distinct, are located in the photograph (and act of photographing) as immeshed and made complex by subjective desire.

This thesis explores the Picturesque as a visual aesthetic that is often self-consciously employed in the travel accounts of British women in India in the first half of the nineteenth century. It addresses how three women - Fanny Parks, Marianne Postans, and Emily Eden - made use of the language of aesthetics, in particular that of the Picturesque (a style deemed especially appropriate for women travellers) in a variety of ways: first, to help them understand and relate to their experiences in this foreign land; second, to convey these experiences to their audiences back home; and, third to carve out what frequently becomes a feminised space within the established (and predominantly masculine) field of travel writing. The approach is largely historicist in order to situate the authors (and artists) within their contemporary cultural, social, and political context. My work builds upon that of literary scholars Elizabeth Bohls, Nigel Leask, and Sara Suleri in its interweaving of historical research and visual aesthetics with a literary analysis of travel writing and colonialism, bringing to bear their insights on authors previously little or not at all addressed in critical literature. Expanding on the notion of the 'Indian picturesque', which Leask begins to shape in his work, I bring Parks, Postans, and Eden into dialogue with the suggestions of Bohls and Suleri that women travel writers adapt the traditionally masculine ideal of the Picturesque aesthetic. After an introduction and two chapters which explore the broader themes concerning the development of the Picturesque and its influence on British artistic representations of India, I briefly summarise how this visual aesthetic came to be applied to written texts about travels in the region, beginning with the texts produced by male travellers, and with a specific focus on the travel narrative of Captain Godfrey Charles Mundy, whose accounts are referenced in Fanny Parks' work. My thesis then offers three case studies considering each writer in order of their arrival in India - starting with Fanny Parks' autobiography of her travels (published in 1850), followed by the published works of Marianne Postans in the 1830s, and through to those of Emily Eden, relating to her travels in the same decade and published in 1866. Aside from drawing on the aesthetics of visual art, the discussion of each author also addresses the importance of other sources to which they allude that enable aesthetic responses to India's landscape and peoples.

Despite its origins in England two hundred years ago, the picturesque continues to influence landscape architectural practice in late twentieth-century New Zealand. The evidence for this is derived from a close reading of the published discourse of the New Zealand Institute of Landscape Architects, particularly the now defunct professional journal, The Landscape. Through conceptualising the picturesque as a language, a model is developed which provides a framework for recording the survey results. The way in which the picturesque persists as naturalised conventions in the discourse is expressed as four landscape myths. Through extending the metaphor of language, pidgins and creoles provide an analogy for the introduction and development of the picturesque in New Zealand. Some implications for theory, practice and education follow.

This thesis offers a detailed, work-by-work chronological study of the picturesque in a small number of carefully chosen country house screen narratives, from the period 1949-1982. Each chapter deals with one of these works: Kind Hearts and Coronets (Robert Hamer, 1949); The Go-Between (Joseph Losey, 1971); The Ruling Class (peter Medak, 1972); Brideshead Revisited (Charles Sturridge and Michael Lindsay-Hogg, 1981); and The Draughtsman's Contract (Peter Greenaway, 1982). These screen fictions are not representative of country estate screen narratives in general, nor are they typical of their directors' oeuvres. The most significant trend is a topos; they all feature a specific type of figure set in a picturesque landscape: a male protagonist who visits a country estate and whose status as an outsider there is largely articulated through his perception of the landed family and its estate. Each figure performs in a picturesque landscape; in the process, he alters, and is altered irrevocably by, the estate. He becomes its genius loci (spirit of place). What was, in 1949, a somewhat unusual landscape narrative, became a small, but highly significant, groundbreaking genre between 1971 and 1982. Through this combination of case studies, I chart a history of innovation in the deployment of country estates in post-Second World War film and television. Heritage criticism tends to see landscapes in screen fictions as pauses in, or distractions from, narrative. This thesis develops an alternative approach to analysing and historicising audiovisual narratives set in picturesque landscapes. It examines the way the chosen works establish a reciprocal relationship between location and narrative. It argues that landscape history plays an integral role in such fictions and that landscape historiography is, therefore, a valuable hermeneutic tool for the analysis of these narratives, yielding new insights into a distinctly English genre.

Thesis (M.A.)--West Virginia University, 2003.
Title from document title page. Document formatted into pages; contains iv, 58 p. Vita. Includes abstract. Includes bibliographical references (p. 52-55).

Esse trabalho pretende investigar as diferentes percepções de significado da palavra paisagem e seus desdobramentos na atividade do arquiteto urbanista. Para tanto, percorre um primeiro desenvolvimento que associa paisagem às diferentes concepções que se têm dela, procurando distinguir a qualidade que nos parece fundamental: a de ser um grande articulador de temas, lugar de múltiplas valências estéticas que dão significado à relação entre homem e natureza. A confusão entre paisagem e o que venha a ser natureza, associado ao fenômeno de supremacia de uma suposta ciência e conseqüente crescimento da figura do planejamento corroboram a redução do complexo significado da paisagem. A questão da possível sobrevivência em tempos modernos de chaves estéticas ligadas ao século XVIII constitui o cenário para a distinção da figura de Frederick Law Olmsted como pioneiro da atividade da arquitetura da paisagem com dimensões para toda a cultura de uma época. A paisagem como a construção de um olhar comparece nessa elaboração, tecendo a partir de exemplos históricos uma multiplicidade de significados que recusam os estreitamentos, apontando algumas fontes de possíveis enganos. A tese afirma a dimensão cultural e estética da arte como pivô nas criações de uma arquitetura da paisagem.
This research intends to explore the several meaning perceptions of the word landscape and their connection to the activity of the architect. Therefore, it runs at first the different concepts of the term landscape, trying to sort out of them the quality that seems fundamental to us: to be the great link to different themes, the place of multiple aesthetic values that makes meaningful the human-nature relationship. The confusion between concepts of landscape and nature, due to the supremacy of so-called science, and the subsequent outgrowth of planning corroborate the reduction of the complex meaning of the landscape concept. The question of a possible survival in modern times of aesthetic keys from the 18th century constitutes the background to the distinction of Frederick Law Olmsted as a pioneer in the activity of landscape architecture, of great significance of a whole era. Landscape as a construction of the eye appears in this elaboration, interlacing from historical examples a multiplicity of meanings that rejects to be straitened, and points to sources of possible misunderstandings. This work reaffirms the cultural and aesthetic dimension of art as motor for the inventions of landscape architecture.

Introduction This dissertation traces the rise of the Landscape garden in England during the 1700s, and its gradual diffusion across France, Germany and Italy. The new style, in a certain degree, inspirited by Chinese classical garden which represented a return to nature and informality, marking a departure from the formal, geometrical gardens which had reigned supreme in Europe during the preceding centuries. The aim of this dissertation, however, is not primarily to add to the stock of facts about picturesque but to take a intelligibly framework to view of the picturesque garden collapsed the opposition between nature and cultural processes in which facts about picturesque garden influenced the Europe—the way, in particular, that the action of Chinese garden individuated in each country—that the nature, history, and semiotic or aesthetic character of picturesque garden is constructed in both its universality and particularity--from its place of origin the Britain to the Apennine peninsula. The role of the Chinese garden emergence of alternative formal solutions in France has different interpretations, the recognition of a parallel that has comforted and strengthened their lines of evolution of the English context. In Italy, this work is to offer a thorough account of Italy’s reaction to and interpretation of the English garden as it occurred largely between 1764 and 1817. This will primarily be achieved by examining and comparing the plans of picturesque garden of this period which addressed the topic, and placing them in the context of the European debate as whole. In order to do so it is necessary to reconstruct nearly a century of theoretical and aesthetic contributions leading up to the 1792 in Padua, an event which constituted the first concerted Italian response to the giardino paesaggistico. In the same period, Piedmont erected the first picturesque garden in the Park of Castle of Racconigi, influenced by its French Princess Giuseppina. Finally, through comparing the similarities and differences with French picturesque garden, so that it concludes distinctive characters of Piedmont of picturesque gardens and its influence on urban public garden in the nineteenth century. The first chapter explores the role of the Chinese taste in the making of English picturesque garden. The influence of Chinese traditions into the picturesque garden discourse is worth reconsidering further, for it raises fundamental question about its myths of origin. Without doubt, most of English scholars persist on their original invention. However, the French considered as the Chinese garden as firewood put into the fire of irregular garden. Admittedly, China encompassed integral art system with irregular garden, from the philosophy to art, which was much earlier than the other countries. However, those foundations of art, literature and philosophy to breed irregular garden could be trace in Britain between the seventeenth and eighteenth centuries. Therefore, the representation of landscape is not only a matter of internal politics and national or class ideology but also an international phenomenon. Indeed, the Britain was not exactly going out on a limb to create a new order of garden and went through a complicated process of exchange, mutual transformation and ambivalence. Throughout the second half of eighteenth century picturesque gardens grew more extensive. Not only did they absorb the Holland and German commons within their neighbor, but occasionally whole the Continent stood in the way of a prospect or an improvement were destroyed and transformed elsewhere. The Britain assimilate features of Chinese garden to improve the picturesque garden in Great Britain--not only use Chinese architectures as a source of garden elements, but also share marrow of Chinese gardening composition. For instance, “contrast” is one of the crucial methods in Chinese classical gardening which was emphasized by Chambers both in his Designs of Chinese buildings […] (1757) and A dissertation on oriental gardening (1772); “multiple oblique views” is another main point of irregular garden that were meant to be experienced while walked through it which was employed frequently in English garden. The following offers authentic and impartial character of Chinese garden Sir William Chambers, argues that the architect’s firsthand exposure to Chinese design as a young man both complicated his relationship to the neoclassical tradition he famously promulgated and infused his rather fantastical writings on Chinese gardening with an emancipatory aesthetic vision modeled on the psychological response to cultural alienation. There was an inaccurate statement that the English garden was influenced by Chinese garden. However, the Chinese garden was divided into scholar garden (or private garden) and imperial garden. There was considerable distinction between them. In the first place, the latter tremendously surpassed the former in size. Yuan Ming Yuan was around forty hectares, but the largest garden in Suzhou, Humble Administrator’s Garden is only 5.1 hectares. In the second place, the latter much drew ideas from the former in general. In this scene, scholar garden was the quintessence of Chinese classical garden. According to the most influenced letters and reports of missionaries in Europe accounted the imperial garden near to Beijing, Old Summer Palace (Yuan Ming Yuan), such as Jean Denis Attiret who praised the Chinese Imperial Garden in his letter arrived in 1743: «However I must except out of this Rule, the palace of the Emperor of Peking, and his Pleasure-houses; for in them everything is truly great and beautiful, both as to the Design and the Execution», as well as «generally wind about and serpentize».Thus, the Chinese garden pushed forwards the English garden that should be exact expression that it was influenced by Chinese Imperial Garden. While the present dissertation has to say about Chinese Scholar garden, part of my purpose in framing central understanding on its essence to distinguish the Chinese garden and the English garden. Although both of them claimed to “imitate nature”, the consequences are tremendous difference. I hope to explain what the Chinese classical garden was and how to make a Chinese garden, so as to clarify the «making over of Chinese culture in the Western image» and misunderstanding of the Western during the transformations of the past hundred years. It is basic on the Chinese treatise on gardens, Yuan Ye, was completed in 1634, in which Ji Cheng accounted and concluded his gardening experience; he was also a painter and poet. The philosophy of Confucianism, Taoism and Zen Buddhism play an important role and help the Chinese forming the perception in the gardening. It could be easily traced the ideology of Zen Buddhism and Taoism in each garden, such as little pagoda in the lake. The perfect effect on Chinese landscape poets and painters brought those perceiving or thought into materialization. From this point, the origin of English landscape shares the identical features with Chinese. Since ancient time in China, it has been said that poetry and painting share the same origin, which is embodied in there is painting-in-poetry just as there is poetry-in-painting. Horace Walpole wrote that «Poetry, Painting and Gardening, or the science of Landscape, will forever by men of taste be deemed Three Sisters, or the Three New Graces who Dress and adorn nature». It must be pointed that, just as the name suggests, scholar garden was created by retired officers (the Humble Administrator's Garden, Zhuozheng Yuan) or literati (the Master of the Nets Garden). If the garden was fashioned by the man of taste, it reflects the epitome of his spiritual world. And in this way, depending on the knowledge of owner, the garden evokes delight or elegance, and stand as emblems of both highly cultivated tastes was equated with its owner. It is surprised that the same expression could be found in English landscape theory, «as is the gardener, so is the garden». The six basic components, hill, rock, water, plants, road and architecture also inspirit the picturesque garden. Especially, the rock was the first noticed and learned by the western, for instance, the grottos at the foot of hills (Pope recognized a grotto at his villa at Twickenham in 1719) and the rockery along the bank of river. However, different from picturesque garden in the countryside and unlimited by site, the Scholar garden was always close to the mansion and in the city center that the Chinese created several methods to enlarge its garden in the vision, “contrast”, “borrowing views”, “multi-views” etc., in order to create multiform space in a limited yard. In addition, changing is another subject: change of seasons, passing of time, or variations in climate such as rain, snow, sunshine, or clouds, all of which, to varying degrees, cast a different light on the artistic effect of the garden’s scenic imagery. So, the Chinese garden is an art of both spatial and temporal planning. Undeniably, the Chinese art of gardening is the driving force behind the English accomplishments. Whereas, the English did not copy Chinese garden, even not precisely estimated by the French to picturesque garden, in my view, the assistance of Chinese garden was one of the firewood in the fire of new style garden to support by the representational practice. French contribution on picturesque garden is discussed in Chapter III. A review of picturesque garden in the eighteenth century, it is no doubt that its vogue swept unhesitatingly over whole the European continent. But, the other countries, such as France, that involved Romantic revolution and made its own contribution to the development of picturesque garden. So it would be useful to identify French picturesque movements that brought about their own distinct feature of the picturesque garden. Cause picturesque was a product from the Britain was not a tradition of France. So when the new idea imported from across the English Channel, they were mingle the native concept of “nature” and “modern”, consequently, forming the different version from the English one. In general, the French picturesque garden is mixture of formal and naturalism garden that is the remarkable feature of French design that also influenced the appearance of Italian picturesque garden in a certain extent. The other feature of French is to stimulate its curiosity of visitors to encourage them quest the fresh sentimental pleasure in the garden, such as Désert de Retz. In addition, according to appendix II, the French erected more Chinese structures than English. Moreover, it is generally believed that the picturesque garden came into being France in the 1760s, and that it was a product of English influence, not of French tradition. Dora Wiebenson argues for instance that gardens on both sides of the Channel presented some supposed “English” features concurrently, rather than successively. Jean-Jacques Rousseau’s sentimental ideas of Nature and a free society had a profound influence on French Romantics and Enlightenment in the 1770s. His idea and novel La Nouvelle Héloïse profoundly influenced on French culture which became an original version of picturesque garden, including Claude-Henri Watelet and Johann Wolfgang von Goethe. Ermenonville of the Marquis de Girardin was poetic nature had benefited from Rousseau’s novel. As the Monceau (1773), le Petit Trianon (1774-1787), Betz (1780-1789), La Folie Saint-James de Neuilly (1784) and the Désert de Retz (1785) which are pastoral style. Claude-Henri Watelet Marquis de Girardin and J.M.Morel devoted to both theory and practice to picturesque garden. Le Rouge published Jardin’s Anglo-Chinois from 1775 to 1789, transferring the idea of new taste and their models to the French gardeners. At last, we will discuss the three types of French picturesque garden: The pastoral farm, Jardin Anglo-Chinois and Ferme Ornée. The sweeping vogue of picturesque gardening would seem hardly reach to Apennine peninsula, however, under the background of picturesque garden, Italy also attempt to naturalize her regular garden forms without first hand materials. The new style simultaneously provoked Italian enthusiasm and skepticism, curiosity and diffidence; and although it became a popular choice for many landowners, relatively few intellectuals chose to sanction it unconditionally in their writings. Protagonists of the debate in Padua such as Ippolito Pindemonte and Melchiorre Cesarotti elected to frame the topic within the context of Italian poetic tradition, and in doing so claimed that Italy deserved credit for conceiving of the naturalistic garden. This allegiance to classical and Renaissance precedent in turn helps explain a general reluctance to relinquish the formal model in favor of a modern, imported style. An Italian translation of Delille’s poem on picturesque gardens appeared in Venice in 1792, the year of Pindemonte’s promotion of the new style in nearby Padua. The Milanese Ercole Silva will emerge as the only true proponent of the English garden in Italy who issued his important and influential Dell’ arte de’ giardini inglesi in 1801, adding illustration for a second edition in 1813. From 1776, Park of Villa Reale of Monza began to reconstruct and settled the first picturesque garden in Italy in emulation of Wörlitz Park, although only transformation of small part in whole formal garden. The garden of villa Belgioioso designed by Pollack in Milan is also an excellent exemplary site in Lombardy. Also, Silva attempted to create a new style garden by terms of the principle of picturesque garden mentioned in his treatise. In 1787, Park of Palace of Caserta was erected. If the garden of Villa Monza was the first plan of English garden designed by Pierrmarini, the first real big English garden was the garden of Caserta is certainly the best known example in Italy, which represents a distinctive Italianness, a move that mixed well with growing aspirations to powerful nation and was supported by its beautiful natural scenery and literature, horticultural and architectural traditions of Italian garden art. The Chapter V focuses on the picturesque garden in region of Piedmont. With the different atmosphere of politics and culture, the diffusion of picturesque garden to Savoy Dynasty was more complicated. The first picturesque garden emerged in Piedmont is the Villa Morra di Lavriano in 1784. As the most of picturesque gardens in Italy, it included different characters: English, French and Chinese sectors. However, thanks to shortage of the materials of Anglo-Chinese garden, the picturesque garden part apparently traces of the formal garden. Only three years later, the year of 1787 marks a turning point--a famous project of Giacomo Pregliasco transfer the central park of Racconigi into picturesque garden. On the one hand, due to the theatrical scenery profession of Pregliasco, the picturesque garden resembles in magnifying scenery. He also designed a Chinese pavilion and rockery stands in the center of the lake which apparently resourced from the design of Park of Bonnelles, which illustrates opportunely the picturesque garden influenced by France. On the other hand, Promoted the picturesque garden in the garden of Racconigi also attributed to its hostess: Princess Giuseppina. Admittedly, the interest of the owner determines the appearance of the garden in a large extent, even did more influence than a designer, both in architecture and garden. Thus, when the attempt at researching the picturesque garden of Racconigi, it would be unreasonable to bypass the cultural background of the client, but only analyzed gardener. As the culture patron, the Princess made a great contribution to the English garden, owing to her writings when she arrived in Turin which is carefully kept in the Royal Library. And her Park of Racconigi, as a princeless heritage—both in material and nonmaterial, was inherited by Carlo Alberto. After 1820, the Park of Racconigi was appointed to Xavier Kurten aimed at seeking a simple nature, natural and softly irregular: a beautiful nature. Kurten gives over to the complete renovation of the park, erasing the formal structures inserted by Pregliasco in a broader context, toning down the characters. Purchases of land and intensive transformations that create the largest plants in the Piedmont landscape, still preserved. The implementation of the picturesque garden was following. Then, Leopoldo Pollack designed the Park of Palace of Riva presso Chieri in 1796 which was borrowed his idea of villa Pesenti, the agriculture, formal garden and picturesque garden blended together, an “idea confusa”. Villa Berroni locates in the Racconigi was a mixed style. Germany Xavier Kurten was the pioneer of modern urban park, because most of his works reflected the idea of city garden. The picturesque garden idea also influenced the later urban planning of Turin, such as the planning of Ferdinando Bonsignore, Ferdinand Boyer and Lawrence Lombardi, as well as Pregliasco’s a new green city in 1802. It is concluded that the picturesque garden in Piedmont has three features: mixed the nature garden with old Italian ones that is following the French habit, as was done at Monza and Racconigi; second, Germany Xavier Kurten abolished completely regular garden in order to create a pure landscape garden with a remarkable feature as vast water system, like the Park of Castle of Racconigi in 1835.

This thesis considers the relationships between Charlotte Smith (1749-1806) and a number of visual artists of the eighteenth century with whom she had connections. By exploring these associations with artists such as George Smith of Chichester (c. 1714-1776), George Romney (1734-1802), James Northcote (1746-1831), John Raphael Smith (1751-1812) and Emma Smith (1783-1853), the thesis demonstrates how the artwork of these individual artists influenced the literary works of Charlotte Smith. It further indicates how the literary works of Charlotte Smith exercised a mutual influence on the corpora of these artists. This study reveals information which was not heretofore known in connection with these artists, including a mistaken attribution of a sketch which accompanied the second volume of Smith’s Elegiac Sonnets (1797) and a print held by the British Museum which was previously shrouded in mystery. The artworks also enhance the information scholars already hold in respect of Smith’s biography. The main purpose of the thesis, however is to analyse the tropes and motifs of these artists and the popular aesthetics of the period as they employed them and undertake parallel readings between the visual artistry and examples from Smith’s poetry, novels and educational works for children. The thesis deliberates on how Smith utilises these aesthetics as narrative devices, making use of the tropes of the picturesque, the sublime, the beautiful and a national artwork in the form of the iconography of heraldic charges, in order to enhance meaning in her literary oeuvre. By accessing these aesthetics and employing them thus, Smith makes use of them as a vehicle for social critique making commentary on political, gender, moral and class concerns, in addition to using the artwork in order to enhance the perceived authenticity of her own artistry.

This essay analyzes the theme of the pursuit of beauty in The Secret History. It analyzes the main characters’ concept of beauty, their manner of seeking beauty, as well as the result of this search. For this analysis, I use Friedrich Nietzsche’s theories of the Apollonian and the Dionysian as outlined in The Birth of Tragedy and in scholarly texts that analyze TBT— which describe the Apollonian/Dionysian dichotomy as the opposed worlds of order and madness— to define the main characters’ concept of beauty. The narrator of the novel once says that “beauty is terror” (Tartt 45), a statement which paints beauty as harsh and shocking, and potentially destructive. Likewise, in this essay I argue that for these characters beauty is created through the interplay between the Apollonian and the Dionysian, and that its pursuit leads to destruction. I analyze this through the characters of Richard Papen, Henry Winter, and Bunny Corcoran. Richard and Henry pursue beauty in that the actions they take are aimed at embodying an aesthetic ideal. In Richard’s case, it is his longing for beauty which leads him to imitate and join the classicists— particularly by mimicking their socio-economic class— and which eventually places him in a disordered Dionysian world of madness and murder. Henry, on the other hand, is the embodiment of Apollonian order, and it is his search for beauty through a bacchanal which leads him to commit murder twice and, eventually, to take his own life. Lastly, Bunny is different in that he is neither beautiful nor interested in beauty as his peers define it. It is because of this that he is excluded from the others’ pursuit of beauty, that he is murdered, and that his murder is justifiable in the eyes of his murderers. This study finds that, in The Secret History, where beauty is defined as the dance between Apollonian order and Dionysian madness, the Dionysian ends up as the victorious half of the dichotomy, causing the loss of reason and the triumph of destruction and disaster. This portrayal of beauty as destruction and vice versa, rather than serving as the vehicle for a moral indictment, is instead the very purpose of the novel.

In the early nineteenth century, British consumers increasingly demanded representations of foreign areas newly opened up by British imperial expansion. This thesis considers a series of twenty-four aquatints by British artist James Baillie Fraser, published between 1824 and 1826 as Views of Calcutta and its Environs. Fraser’s images at first glance appear to support the views held by European medical men and tourists of the period, who represented Calcutta as a city built in a pestilential environment, and divided between a seemingly tainted, Bengali “black town” and a pristine, European “white town.” The white town was framed as a city of orderly neoclassical palaces, wide boulevards, and salubrious squares, whereas the black town was marked out as a chaotic space of disease and filth. By marshalling the tropes of the picturesque, an aesthetic mode that had long been associated with landscape and travel, and by advertising the series as following in the tradition of earlier representations of India ––– such as the late eighteenth-century prints of Thomas and William Daniell that celebrated Britain’s success in bringing progress and civilization to Bengal ––– Fraser’s Views of Calcutta offered viewers important vistas that marked Britain’s presence in the city. However, while much of the scholarship has interpreted Fraser’s images as seamless depictions of British hegemony, these readings obscure the slippages, tensions, and ambiguities that take form in his prints. My thesis focuses on four of Fraser’s aquatints that picture key sites in Calcutta, including the British buildings in Tank Square, the monument to the Black Hole incident, the Hindu temple known as the “Black Pagoda,” and the native bazaar on Chitpore Road. I argue that rather than portraying British hegemony and a clear division between the white and black towns of Calcutta, Fraser’s images distinguish themselves from earlier representations by paradoxically revealing the fluidity of these boundaries. As a result, Fraser’s collection registers the tenuousness of British power over the perceived dangers of both the tropical environment and the native population, while also asserting the need to constantly maintain sanitary order by removing what was perceived as matter out of place.

In eighteenth-century England, the art-forms of painting, poetry and gardening were often collectively labelled, the ‘sister arts’. The increasing interest taken in the apprehension and appraisal of scenes of English landscape by artists in these fields, alongside an emerging taste for nature ‘tourism’, gave rise to the term, the ‘picturesque movement’. English music was seldom considered as belonging to this ‘sisterhood’ or discussed as a medium for conveying artistic expressions of national scenic beauty. When the picturesque was discussed alongside music it was adopted as an analogy to explain the tactics of novelty and surprise deployed by contemporaneous German composers of instrumental music; these ‘plays’ with regularity and expectation were felt to be similar to the techniques of landscape gardeners who had studied and adopted the elements of surprise and irregularity observed in picturesque ‘beauty spots’. Recent musicological references to the picturesque have also preferred to employ it in this way in order to problematize the subversion of formal characteristics in the fantasias and unconventional symphonies by German composers. This thesis addresses the silent aporia in these discourses – namely the apparent absence of any participation in the picturesque by English composers, natives of the country most associated with the picturesque sensibility. Revealing the connections between the veneration of national landscape and eighteenth-century English vocal music, it is the ‘pictorialisms’ present in their texts, and their musical treatment, which are the focus of this project. In the process, secular song, the glee and national theatre music are positioned as appropriate sites for expressions of a uniquely English, painterly engagement with national landscapes, making possible reclamation of a neglected repertoire through the lens of the picturesque. And at the end of the project, Haydn’s oratorio, The Seasons, is shown to be as much a part of the English picturesque expression as a product of the German Enlightenment.

According to Edward Said the Orient is a European construction that has arisen out of a need to describe the Western civilisation as culturally superior. This occurrence Said gives the label "Orientalism". Art historian Linda Nochlin takes Said’s theories further in The Imaginary Orient where she conveys the thesis that the pictorial Orientalism is an expression of an imperialistic ideology. John M. Mackenzie, on the other hand is of the opinion that the pictorial Orientalism rather is an expression of the Romantic movement. To understand the Orientalist art we have to consider the social and historical context in which the work was created. By trying to justify the Orientalists choice of motive Mackenzie takes the view of those who consider art history as a positive discipline. Nochlin on the other hand means that we instead of fortifying the art historical canon we ought to politicize it, which only is possible if we contemplate art history as a critical rather than a positive discipline.

This thesis responds to a growing appreciation for the richness and ambiguity of mid-century architectural culture in Britain. Initially focussing on the enthusiasm for a science-based approach among architects and town planners, the thesis identifies – in the diverse debates of the Second World War and immediate post-war years – an architecture that achieves significantly more than an abstract, inhuman, or totalising utopianism. Instead, it will expose affinities between the enthusiastic pursuit of objective solutions in architecture and planning and the drastically compromised realities, both of the historic city in ruins, and of certain episodes in the history of architecture that enjoyed popularity after the war. The first chapter introduces the problem of utopianism, a concept that has often accompanied critical studies of modern architecture. An appraisal of the utopian tradition highlights the frequent vagueness and ahistoricism of the term, leaving room for an appreciation of utopian speculation as dynamically historical, with the potential to decisively enact change. The second chapter identifies these characteristics in the mid-century enthusiasm for scientific planning, an approach that used quantifiable methods of research in order to legitimise an emerging town planning profession, which had gained added impetus from the transformative social impact of the Second World War. Underpinned by the civic and regional survey, this approach advanced the potential of technocratic management to ‘solve’ the problems of social organisation and physical planning. However, an analysis of specific attempts to speculatively develop the necessary planning machinery indicates a far richer range of concerns. The third chapter shows that the experience of wartime bombing dramatically changed the aspect of Britain’s towns and cities, with the resulting ruins presenting a visceral challenge to the idealising promise of science. But this seeming conflict obscures the relationship between ruination and reconstruction. For the anxiety and exhilaration of destruction was, in fact, embedded in the practice of rebuilding, both in the memories of the builders and of the public at large. Furthermore, an examination of contemporary architectural writing on the subject of wartime ruins displays an attempt to aestheticise and appropriate the ruin’s effects, while simultaneously maintaining an outward attitude of detachment. The final chapter develops this discussion, moving from the ruins of the historic city to investigate the mid-century adoption of architectural history as a justification for design. It will show that while scientific research seemed to promise objective solutions, the study of history received a similar authority after the war. Consequently, the historian could assume a status analogous to that of the planning expert: a fact evidenced by the activities of Rudolf Wittkower and Nikolaus Pevsner. Just as the utopian potential of science was conditioned by its contingency, this chapter will demonstrate that the appeal to history would also inevitably be limited to partial solutions.

A more water-coherent approach is postulated as a primary pathway through which biophilic urbanism contributes to livability and climate change adaptation. Previous studies have shown that upstream water retention is more cost-effective than downstream for mitigating flood risks downstream. This dissertation proposes a research design for generating an iconography of water urbanism to make upstream cities more coherent. I tested a hypothesis of aquaphilic urbanism as a water-based sense of place that evokes water-based place attachment to help adapt cities and individuals to water-coherent urbanism. Cognitive mapping, photovoice, and emotional recall protocols were conducted during semi‐structured interviews with 60 residents and visitors sampled from eight water-centric cities in the Netherlands, Germany, and Belgium. The participants provided 55 sketch maps. I performed content analyses, regression analyses, path analyses, and mediation analyses to study the relationships of 1) pictorial aquaphilia (intrinsic attachment to safe and clean water scenes) and waterscape imageability, 2) waterscape imageability and the coherence of city image, 3) egocentric aquaphilia (attachment to water-based spatial anchors) and allocentric aquaphilia (attachment to water-centric cities), and 4) the coherence of city image, allocentric aquaphilia, and openness towards water-coherent urbanism. Content analyses show that waterscape imageability and pictorial aquaphilia were the two most common reasons why participants mentioned the five waterscape types, including water landmarks, canals, lakes, rivers, and harbors, during the three recall protocols. Regression analyses indicate that water is a sixth element of imageability and that the imageable structure of canals and rivers and the identifiability of water landmarks significantly influenced the aesthetic coherence of city image. Path analyses suggest that allocentric aquaphilia can be attributed to water-based familiarity, water-based place identity (or identifiability), water-based comfort, and water-based place dependence (or orientation) evoked by water-based spatial anchors. Mediation analyses reveal that water-based goal affordance (as a construct of water-based comfort and water-based place dependence) aided environmental adaptation, while water-based imageability (as a construct of water-based familiarity and water-based place identity) helped adapt cities and individuals to water-coherent urbanism. Canal mappability mediated the effects of gender and of visitor versus resident on the coherence of city image to facilitate environmental adaptation.

This thesis examines the emergence and evolution of the Vernacular Italianate style of domestic architecture in Britain. The style was introduced in the form of a series of three country houses by John Nash in the first decade of the nineteenth century. It subsequently evolved over the next five decades into a popular template for the modest suburban house, widely disseminated through the medium of the architectural pattern books. The thesis considers the intellectual sources and antecedents which led to the emergence of this style and influenced its characteristics, analyses Nash's particular vision, and explores how the style was able to make a successful transition from villa rustica to villa suburbana, responding to the social and economic pressures which were at play in the expanding towns of the Regency and early Victorian era. It is a style which has been the subject of limited academic study to date, and the extent and significance of its role as a model villa for the new suburb is a theme which has been central to this research. A case is put forward that the style proliferated for two principal reasons: its versatility and adaptability for houses of differing physical scale and location, and its informal charm, inexpensively achieved, which conferred an air of sophistication appropriate to contemporary social aspiration. Nevertheless, as its popularity and accessibility grew over time the intellectual and aesthetic basis which underlay its origins as a product of the Picturesque aesthetic tended to be misunderstood or overlooked entirely, and by the 1860s the style had become diluted, frequently reduced to a matter of exterior detailing, with little reference either to Picturesque composition or to relationship between house and landscape, in contradiction of the tenets of Picturesque architecture propounded in the late eighteenth century, and in complete antithesis to the approach of John Nash in his original and distinctive Italianate interpretation.

This thesis examines Dickens's uses of images of the river throughout his fiction, and also in the early sketches, the reprinted pieces from Household Words and The Uncommercial Traveller. The river concerned is usually but not exclusively the Thames, usually but not exclusively in London. The thesis offers some practical evidence to account for the powerful influence of the Thames upon Dickens's imagination and shows how he conceives of it both within existing frames of reference and in some distinctively Dickensian ways. It considers how Dickens's representations of the river play into the cult of the picturesque which emerged at the end of the eighteenth century, and into the tradition which sees it as a symbolic conduit of the empire. It goes on to consider his use of the river as a boundary, the consequent importance of river crossings in his work, and his conception of the riparian space as a liminal one. It then explores a distinctive scheme of discourse which uses the river to represent rebellious forces beyond the control of human agency and shows how this reflects the sense of spiritual threat which is to be found in some of the other, albeit rare, depictions of nature to be found in his writing. It then shows how Dickens uses the river symbolically to express ideas about death and rebirth, together with the loss of and changes in identity, and how he draws on a scheme of distinctively Christian iconography to do so. Finally it shows how he uses it to create and represent an underworld for London, using tropes of epic founded on classical models. The thesis concludes that, in its use of natural forces to signify social ones, Dickens's writing about the river serves to amplify his conception of stratification in Victorian society and adds weight to the socially conservative political stance which is known to be present in his world view.

Dissertação de Mestrado Integrado em Arquitetura, com a especialização em Arquitetura apresentada na Faculdade de Arquitetura da Universidade de Lisboa para obtenção do grau de Mestre.
O presente ensaio aborda o tema do ‘Romantismo’ como matriz para uma intervenção arquitectónica contemporânea e, como tal, assume-se a vontade de conceptualização de “um olhar romântico”, cuja presença faz-se sentir no decorrer da Idade Contemporânea, nas mais variadas manifestações artísticas, a qual justifica a pertinência do estudo do mesmo, assim como a sua possível aplicação arquitectónica na actualidade. Neste sentido, a significação, ambígua e relativa como o próprio ‘Romantismo’, conferida a “um olhar romântico” ganha forma através dos conceitos de ‘Ruína’, ‘Pitoresco’, ‘valor de antiguidade’, das posturas de intervenção em monumentos ou ruínas proferidas por Ruskin e Viollet Le Duc e da ideia de arquitectura do lugar e de amalgamação entre a intervenção e as preexistências construídas e naturais, procedendo-se à sua aplicação na prática projectual, com intuito à reconversão da Quinta da Arealva numa pousada. Reflectiu-se acerca do território no qual se encontra o objecto arquitectónico, a frente ribeirinha norte de Almada, de Cacilhas à Arealva, da qual resulta uma estratégia urbana que propõe directrizes com o intuito de solucionar o estado de degradação e abandono desta franja ribeirinha com enormes potencialidades. Em epítome, o presente Projecto Final de Mestrado com especialização em Arquitectura, pretende dar resposta a três questões: ‘Onde?’, ‘Porquê?’ e ‘Como?’. A primeira questão - ‘Onde?’ - responde-se com o subtítulo do trabalho - a Quinta da Arealva -, assim como a última questão - ‘Como?’ - com o título do mesmo - “Um Olhar Romântico na Idade Contemporânea” - e, consequente investigação dos temas a ele concernentes. O ‘Porquê?’ assume-se ao longo do documento, através das visitas e leituras efectuadas no decorrer do trabalho, assim como a constatação do estado de degradação e dos valores reconhecidos no lugar que elevam a vontade de intervenção sobre mesmo.
ABSTRACT: The present essay deals with the theme of ‘Romanticism’ as a matrix for a contemporary architectural intervention and, as such, assumes the desire to conceptualize a ‘romantic view’, whose presence is felt during the course of the Contemporary Age, in the most varied artistic manifestations, which justifies the pertinence of the study of the same, as well as its possible architectural application at the present time. In this sense, the meaning, ambiguous and relative as the ‘Romanticism’ itself, conferred on ‘a romantic view’ takes shape through the concepts of ‘Ruin’, ‘Picturesque’, ‘age value’, the intervention positions on monuments or ruins by Ruskin and Viollet Le Duc, and the idea of an architecture of place and amalgamation between the intervention and the built and natural preexistences, and its application in the project practice, aiming at the reconversion of Quinta da Arealva into an hostel. A reflection has been made on the territory in which the architectural object is located, the northern riverside of Almada, from Cacilhas to Arealva, resulting in an urban strategy that proposes to solve the state of degradation and abandonment of this riverside fringe with enormous potentialities. In an epitome, the present Final Master Project with a specialization in Architecture, aims to answer three questions: ‘Where?’, ‘Why?’ And ‘How?’. The first question - ‘Where?’ - is aswered with the subtitle of the work - Quinta da Arealva -, as well as the last question - ‘How?’ - with the title of the same - “Um Olhar Romântico na Idade Contemporânea” -, and consequent investigation of the themes that concern it. The ‘Why?’ is assumed throughout the document, through the visits and readings made in the course of the work, as well as the verification of the state of degradation and the recognized values in the place that raise the will to intervene on it.
N/A

Paris, sous le Second Empire, est capitale du spectacle. Cette vision est à la fois un mythe et l’image d’un lieu réel de relations sociales travaillées par des codes relevant du théâtral. C’est dans ce contexte qu’Edmond et Jules de Goncourt évoluent. Le spectacle et le spectaculaire, qui les fascinent sous toutes leurs formes, sont deux notions qui permettent de rendre compte de leur œuvre et de leur statut d’hommes de lettres. Ces termes témoignent de leurs sources d’inspiration et de leur style, imprégnés du drame et de la peinture, mais aussi de leur posture d’artistes, parmi les écrivains, les artistes, la bohème, le milieu de la presse de leur époque. Dans leurs œuvres, les deux frères s’adonnent à une représentation de leur temps, qui dévoile un jeu du paraître. Leur quête stylistique, qualifiée d’écriture artiste, dans son affranchissement des codes et sa volonté de transgresser les frontières des genres, affirme leur posture d’élection, révélatrice de leurs velléités aristocratiques et de leurs goûts artistiques. Leur position est celle de deux modernes poursuivant la réflexion engagée par Balzac et Baudelaire, mais deux modernes contrariés. Leur œil-artiste, enrichi par les peintres et dramaturges avec qui ils entrent en discussion ou qui leur servent de modèles, opère avec sagacité. Ils offrent une création spectaculaire et spéculaire. Ce miroir tendu à la société, inspiré par les techniques picturales, les genres et registres comme la pantomime, la parodie, la comédie et la satire, renvoie en des vues diffractées l’image de leurs contemporains et celle de leur existence exemplaire, qu’ils mettent en scène artistiquement
Paris, under the Second Empire, was the world capital of spectacle. This image, as much as it is a myth, also depicts the reality of social relationships that were akin to the rules of drama.This is the milieu Edmond & Jules de Goncourt live in. The spectacle and spectacular of all kinds fascinate them and account for their work, and also their place as writers in society. These two words tell us about their inspiration and style, which are infused by drama and painting, as well as their artistic position among literary sociability, artists, bohemians, and the press of the middle of the nineteenth Century. In their books, the Goncourt brothers give a representation of this time by revealing the codes of make-believe. Their stylistic aspiration, deemed “écriture artiste”, which goes across the rules and borders of literary genres, claims their position of superiority to show their aristocratic aspirations and their artistic tastes. Their position is that of modern men, thinking about modernity as Balzac and Baudelaire did earlier, but in some ways, their position also seems to be an anti-modern one. Their artistic observation, or oeil-artiste, enriched by painters and playwrights, who they converse with or whom they emulate, is shrewd. Their production is both spectacular and specular. This mirror, which they are presenting society with, is inspired by painting techniques, literary genres and tones, like dramatic pantomime, parody, comedy and satire. It shows kaleodoscopic views of their contemporaries and of their own life, scripted and staged like a work of art

This combined studio practice/text thesis analyses links among the Chinese concept of jingjie, the archetypal patterns of sacred places, the picturesque movement in European aesthetics, and site-specificity in 1960s Land Art. In addition to examining site-specificity and the theoretical aspects of my studio practice, I explore the relationship between my ethnicity and my work in the context of contemporary Chinese and Taiwanese art environments. Guided by the principle that "practice and theory inform each other," I restate the significance of jingjie in contemporary art, especially its connection with the physical and psychological patterns found in archetypal "sacred places." Jingjie was fundamental to the spatial fluidity found in Chinese landscape arts, especially garden design. After demonstrating how Chinese gardens influenced English landscape garden principles and the 18th-century European picturesque movement, I argue that similar East-West connections served as direct and indirect influences on the site-specific work of middle and late 20th-century Land Art artists. I then describe how picturesque depictions of the relationship between man and nature influenced 19th-century landscape architecture in North America and 20th-century Land Art throughout the West. Finally, jingjie and Chinese gardens are used to explore archetypal sacred place patterns and their influences on the Western tradition of the picturesque. These parallel East-West connections served as the foundation for later interest in site-specificity, and were essential in establishing a historical context for understanding cross-cultural currents and their influences on Land Art artists. Using jingjie as my focus, I examine aspects of contemporary art that are not usually addressed by art critics, and reconsider the relevance of the Western picturesque tradition through a reciprocal model of cultural influences.

Cette étude porte sur un corpus de tarentelles pour piano éditées en France de la fin des années 1820 jusqu’à la Première Guerre mondiale. Cherchant à comprendre comment cette danse, originaire du sud de l’Italie, en est venue à occuper une telle place dans le répertoire pianistique français du XIXe siècle, l’auteur commence par évoquer ses origines présumées, entre catharsis et rituel de guérison, puis son évolution en une danse de divertissement. Après une première partie consacrée à la façon dont les récits de voyageurs, les romans et les articles de presse contribuent à entretenir un imaginaire pittoresque autour de la tarentelle, la deuxième partie aborde la question de son acclimatation dans la France du siècle romantique. On y apprend notamment que la tarentelle de La Muette de Portici d’Auber a servi de modèle aux tarentelles qui figurent dans de nombreux opéras de l’époque. Avec La Danza de Rossini, la Tarentelle d’Auber a même lancé la mode des pièces s’inspirant du rythme et de la vivacité caractéristiques de cette danse. La troisième partie apporte enfin un éclairage particulier sur les 496 partitions pour piano du corpus, celles-ci étant examinées sous l’angle de leurs couvertures illustrées, de leurs titres évocateurs, mais aussi de la gestion qu’elles font de certains paramètres musicaux (rythme, tonalité, tempo, etc.). Englobant un répertoire qui va des pièces faciles pour le salon aux œuvres les plus virtuoses pour le concert, la tarentelle a séduit le public français par sa puissance d’évocation transalpine et l’énergie de son rythme tourbillonnant
This study relies on a corpus of tarantellas for piano, which were released in France from the end of the 1820s until World War I. From the starting point of the supposed origins of this dance – between catharsis, healing rituals, and then its mutation into an entertaining dance – the author reaches an understanding of how a dance, which actually originated in Southern Italy has come to occupy a significant place in the French pianistic literature of the 19th century. After a first section devoted to the way travellers’ tales, novels and press releases contributed to foster picturesque imagination surrounding the tarantellas, the second section deals with the issue of its adaptation to the French Romantic century criteria. One learns, among others, that the tarantella from La Muette de Portici by Auber provided a model for subsequent tarantellas, which featured in numerous operatic works of that time. Along with Rossini’s La Danza, Auber’s Tarantella initiated an authentic trend for pieces, which were taking inspiration from lively components so characteristic of this dance. Eventually, the third section brings a particular emphasis on the 496 piano pieces of the author’s corpus. This section analyses them in the light of their illustrated cover pages, evocative titles, and also the way several musical parameters such as rhythm, tonality, tempo, etc. are treated. With a repertoire encompassing easy pieces intended to parlour attendees to more virtuosic concert works, the tarantella seduced the French audiences through its transalpine evocative power and the energy of its whirling rhythm

Made available in DSpace on 2016-12-08T16:19:01Z (GMT). No. of bitstreams: 1 GIO-1.pdf: 21583998 bytes, checksum: d1c5c42e86215d6426b9d48609f648ae (MD5) Previous issue date: 2007-08-28
Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
This research investigates the picturesque in contemporaneity of works produced by me, especifically photographs, where such aesthetic category can be highlighted. From Richard Payne Knight, Uvedale Price and William Gilpin, three main XVIII theoreticians, the picturesque was conceptualized as a model for arranging and as landscape itself. Together with these authors, the artist Claude Lorrain was studied, on account of the magnificence nature of his landscapes, and Robert Smithson, author of Monuments of Passaic. Both problematize the picturesque and time, which are issues that were later investigated in tandem with George Didi-Huberman´s concept of survival and Rosalind Krauss´s concept of originality. Such approaches highlight a picturesque that is not only aesthetic, closed typology inside objective and formal qualities, but also reverberations that invite other ways of looking at contemporary landscape. The works that I present in this study used these theoretical and historical issues to understand the allure of determined conditions of nature elements found both in and out of the city space. Grasses, weeds and other plants appear in wastelands, lagoons and beaches, sidewalks and walls, equivalent to the longed English garden nature for showing how splendid the natural growth is
Esta pesquisa investiga o pitoresco na contemporaneidade a partir de trabalhos que produzo, especificamente fotografias, onde tal categoria estética poderá estar sendo evidenciada. A partir de Richard Payne Knight, Uvedale Price e William Gilpin, seus principais teóricos do século XVIII, o pitoresco foi compreendido como sendo o próprio modelo de arranjo e conceito de paisagem. Junto a esses autores, foram pesquisados os artistas Claude Lorrain, devido à natureza magnificente de suas paisagens, e Robert Smithson, a partir do trabalho Monumentos de Passaic. Ambos problematizam o pitoresco e o tempo, que são questões posteriormente investigadas juntamente ao conceito de sobrevivência de George Didi-Huberman e de originalidade de Rosalind Krauss. Tais abordagens apontam para um pitoresco que não é somente tipologia estética, fechada dentro de qualidades objetivas e formais, mas reverberações que disseminam outras maneiras de olhar para paisagem contemporânea. Os trabalhos que apresento valem-se dessas investigações teóricas e históricas para compreender o fascínio diante de determinadas condições dos elementos da natureza, encontrados tanto no espaço das cidades quanto fora dele. Mato, capins e plantas daninhas aparecem em terrenos baldios, lagoa e praia, calçadas e paredes equivalendo-se à natureza almejada pelos jardins ingleses, àquela que se mostra esplendorosa por invocar um crescimento natural

In the latter half of the 19th century, Robert Louis Stevenson set off on two journeys through Belgium and France, two travels that were to become the subject of his early travelogues An Inland Voyage and Travels with a Donkey in the Cévennes. In these two travelogues Stevenson elaborates extensively on depictions of nature, and through these depictions, Stevenson suggests that there exists a special relationship between natural beauty and human emotion. In fact, this portrayal of human emotion as bound with nature can be considered as significantly Romantic. Consequently, this study investigates Stevenson’s depictions of natural beauty from the Romantic conceptualizations, the beautiful, the sublime, and the picturesque. However, these Romantic theories are subject to various definitions and perceptions by different aesthetes and intellectuals. Therefore, in this study a few important Romantic philosophers have been given special consideration, those are, Edmund Burke, William Gilpin, William Wordsworth, and John Ruskin. The analysis of Stevenson’s depictions is conducted by way of discussing excerpts and quotations from Stevenson’s writing in relation to these Romantic perspectives. Although these travelogues are misplaced as Romantic in terms of period of time, I argue that Robert Louis Stevenson’s depictions of natural beauty and human emotion in An Inland Voyage and Travels with a Donkey in the Cévennes reveal an interesting Romantic sensibility, which is founded on a combination of the aesthetic and philosophical ideas of the picturesque, the beautiful and the sublime.

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.

The present study inquires into the problematization of attention in the reception and distribution of photography in 19th-century Sweden. It investigates how photography’s alleged abundance of detail and indiscriminate reproduction became a problem in the reception of the medium. The problem became urgent when photographs were put to use by established discourses; specifically, when used in printed publications meant for a public. The thesis therefore argues that the problem of attention had a profound influence on how printed photographic or photographically illustrated editions (photo-texts) were modelled and arranged. For this purpose, the study affirms a particular focus on attention practices: the various ways in which the printed editions aim to regulate the reader’s attention before the supposedly distractive image. Specifically, the thesis focuses on how texts in these printed editions are arranged or juxtaposed in relation to the image, how they speak of and to the images, what values they reflect, and what effects they could be said to produce. Consequently, the present study is more than an investigation of a problem; it is also an inquiry into the various attempts to overcome this problem. The problem and its responsive practices will have different characteristics in the various contexts of individual discourses. Therefore, the study situates the problem of attention in four prominent genres of 19th-century photography: the topographical albums of photographic views, art books with photographic reproductions, the scientific atlas, and the photographically illustrated travelogue. These genres and forms of publication, as well as the discourses of attention relating to them, are discussed in separate chapters. Every chapter departs from a specific Swedish photographic edition from the nineteenth-century. In sum, the thesis aims – with its focus on the problematization of attention – at giving a new historical perspective on the emergent relation between photography and the printed word.

Jusqu’à la seconde moitié du XVIIIe siècle, les territoires montagneux de Grande-Bretagne sont inconnus pour la majorité de la population. Pourtant, les territoires du Lake District en Angleterre, du Snowdonia au pays du Galles et des Highlands d’Écosse font partie de l’essor de la peinture de paysage en Grande-Bretagne entre les XVIIIe et XIXe siècles. L’observation des artistes portée aux montagnes du nord profite à l’imagination à travers deux notions majeures : la beauté pittoresque et le sublime. En effet, la promenade dans le jardin anglais s’ouvre au Home Tour en terres montagneuses. D’une immensité suscitant la terreur en souvenir du Déluge, la montagne en tant que symbole de l’insularité fait appel au réenchantement grâce au travail des artistes, des poètes et des voyageurs. Les aquarellistes observent les montagnes britanniques et font de ces territoires des ateliers en plein air. Cependant les vues héritées de la topographie poussent à une reconstruction de la composition où les montagnes deviennent de plus en plus présentes dans les arts visuels jusqu’à engendrer un chaos synonyme de l’union romantique. Depuis la fin du XVIIIe siècle, les territoires montagneux de Grande-Bretagne nourrissent le mythe du caractère britannique (Britishness). Les montagnes deviennent ainsi le symbole de l’origine développé en parallèle de la modernité industrielle. La pacification des Highlands à partir de 1747 encourage l’étude des vestiges du passé où les montagnes sont les ruines naturelles. Cette recherche de l’origine incite aussi à partir des années 1820-1830 le développement des identités nationales en Écosse et au pays de Galles au sein de la Grande-Bretagne. Ces identités tentent de mettre fin à l’anglicisation en revendiquant leurs spécificités culturelles et se réapproprient la montagne en tant que symbole national
Until the 18th century, mountainous scenery in Britain was unknown to most of the inhabitants, and it was regarded as wild and gloomy. However, places such as the English Lake District, the Welsh Snowdonia and the Scottish Highlands were instrumental in the development of the art of landscape painting in Britain between the 18th and 19th centuries. Artists’ observation of the northern mountains captured the imagination through two major notions : the picturesque beauty and the sublime. Indeed, walking in English gardens lead to the Home Tour in mountainous lands. From a gloomy natural form following the Flood, the mountain became a symbol of insularity. This called for a re-enchantment through paintings and poetry, and then the mountain was allowed its glory. Watercolourists drew the mountains from Britain and turned them into a studio en plein-air. Thus, topography views led to a new artistic composition, where mountains became more and more painted in visual arts until the creation of a chaos synonymous with Romanticism. In the second half of the 18th century, these mountainous territories took part in the myth of Britishness. They became a symbol of origin, developing along with industrial modernity. The pacification of the Highlands from 1747 encouraged studies on the primitive past, where the northern mountains were natural ruins. In 1820-1830, the quest for origin also implemented the rise of national identities in Scotland and Wales upon British soil. These identities attempted to put an end to Anglicisation by claiming their own cultural specificities and reclaiming the mountain as their national symbol

Entre 1780 et 1830, la conception du paysage évolue radicalement. Au tournant des XVIIIème et XIXème siècles, Rome accueille une fraternité d’artistes qui construisent un nouveau regard sur l’architecture et la nature, qui se place aux origines du paysage moderne. Les itinéraires artistiques de quatre paysagistes français, Jérôme-René Demoulin (1758-1799), Jacques Moulinier (1757-1828), François Liger (1757-?) et Antoine-Laurent Castellan (1772-1838) appartenant à cette même génération, constituent le sujet de notre étude. Entretenant tous un lien avec la ville de Montpellier, ces hommes, exerçant la profession de « dessinateurs voyageurs », empruntent des grands itinéraires à travers une Europe en guerre. Engagés au sein de missions scientifiques ou de voyages pittoresques, ces artistes réalisent une moisson de dessins depuis Madrid jusqu’à Constantinople. Cette étude se donne comme objectif premier de (re)constituer le parcours et la production de chacun des artistes afin de nous approcher de leur personnalité artistique. Le musée Fabre de Montpellier conserve, disséminée dans ses collections, une grande partie de ces dessins de voyage. Ainsi, un travail considérable de réattribution fut nécessaire afin d’élaborer quatre catalogues rigoureux et inédits relatifs à chaque artiste (450 dessins au total). Dans un second temps, l’analyse de ces corpus retrouvés et augmentés, donne à voir la place de chacun dans les tendances artistiques contemporaines. Ne formant ni un groupe, ni un échantillon d’étude, ces quatre hommes représentent en fait, par leur parcours et leur production, un fragment des pratiques contemporaines du paysage, depuis les vues pittoresques de Jacques Moulinier, héritières du XVIIIème siècle, jusqu’à l’intuition d’Antoine-Laurent Castellan, qui réalise des études dans la forêt de Fontainebleau dès 1819, préfigurant alors lesdéveloppements futurs du genre du paysage
Between 1780 and 1830 the conception of landscape, changed radically. At the turn of XVIIIth and XIXth centuries a brotherhood of artists were in Rome who had a new concept of the relationship between architecture and nature. The aesthetic journeys undertaken by these four Frenchmen of the same generation, Jérôme-René Demoulin (1758-1799), Jacques Moulinier (1757-1828), François Liger (1757-?) and Antoine-Laurent Castellan (1772-1838) are the subject of this study. Whilst following their profession as artists, travellers and making long journey across Europe in time of war, they maintained their link with the city of Montpellier. Involved at the heart of scientific investigations or making journeys in pursuit of the picturesque, these men made a harvest of designs from Madrid to Constantinople. The object of this study is firstly torediscover the individual journeys and drawings of each one and to come close to their individual aesthetic. The musee Fabre at Montpellier holds a large proportion of the drawings made during their travels within its collections. Thus in order to complete a definitive catalogue for each of these artists, 4 new catalogues from a total of 450 designs, a great deal of exacting research was necessary. Secondly to analyse each body of work to discover the place each one held in contemporary artistic trends more exacting study was required. These men form neither a group or a sample study. By their works and travels they represent a fragment of the landscape work of their time. Inheritors of their ideas in the XIXth century from the picturesque views of Jacques Moulinier, to the intuition of Antoine-Laurent Castellan, who made his studies in the forest of Fontainebleau from 1819, prefigure the future concepts of landscape

Notre thèse aborde la question de la beauté dans les arts plastiques d'aujourd'hui. Celle-ci en effet ne va pas de soi, si l'on en croit notamment les multiples publications manifestant un rejet de l'art contemporain. Peut-on parler, actuellement, d'une esthétique de l'œuvre renvoyant à une science du beauté à une satisfaction d'ordre essentiellement intellectuel? Soit de beauté intrinsèque qui, comme dans l'art de la Renaissance, relève tant de l'harmonie et de la justesse de ses formes que de la légitimité de son contenu, grâce à la mise en évidence du bien-fondé de la mimêsis, de la perspective ou des motifs religieux ? Ou bien faut-il plutôt, pour pouvoir juger de la valeur esthétique de l'art contemporain, accorder une place de choix à la singularité de ses causes et effets, en opérant notamment un inévitable glissement vers une science du sensible ? Or notre parallélisme entre "esthétique de l'œuvre" et "continuité" dans l'histoire de l'art d'une part, puis "esthétique des effets" et éventuelle "rupture" d'autre part, nous a conduits à interroger d'abord ces éléments de rupture tels que le refus de la profondeur ou de la représentation figurative, mais aussi celui de la réalisation ouvragée et de la matière noble. Mais il nous a aussi amenés, malgré des conditions politiques ou techniques spécifiques de réalisation, à nous pencher sur une véritable poiêsis contemporaine. Car avec les œuvres plastiques de notre époque, il s'agit bien, toujours et incontestablement, d'art et même "d'épiphanie", dès lors que l'on s'en réfère à la vision ontologique et apologétique du philosophe François Dagognet
Our thesisconcerns the question of beauty in the contemporaries plastic arts. But this one does not without saying, if we consider the simple fact of the numerous publications concerning the rejection of contemporary art. May we speak, today, of a "work's esthetic" which refers to a "science of beauty" and to an essentially intellectual satisfaction? We mean an intrinsic beauty, like the one of the Renaissance's art, concerning as much the harmony as the exactness of the forms or the legitimacy of its contents. We mean an art which puts in a prominent position the mimêsis, the perspective's method or the religious motifs. Or would not it be better, in the intention to become able to judge of the esthetic value of contemporary art, to give a first place to the singularity of his causes and effects, at the same time we slide towards a "science of the sensibility" ? In fact, our parallelism between "work's esthetic" and "continuity", then between "effect's esthetic" and a possible "breaking" makes us think about reasons of this breaking, such as the refusal of profundity or as the figurative representation, as well asthe rejection of construction works or noble material. However, we have succeded to consider contemporary art as a real and new poiêsis, in spite of his specific political and technical ways of realisation. And we may assert that, today, undeniably, it is the matter of real art, and even of "epiphany", as soon as we refer to the ontological and laudatory point of view of the philosophe François Dagognet

碩士
國立臺灣師範大學
美術學系
106
Lotus, with rich spiritual essences and cultural significances, has long been the subject of poems and images. Going through the physical and mental pains and sufferings caused by a car accident, I achieve a fuller and deeper understanding of impermanence. The heightened awareness of life gives me inspiration for creation. Hence, I decide to take lotus as my subject and engage in the research for and creation of Flower Language and Picturesque Scene: Rhythm of Lotus. This thesis will divide into five chapters. The content and structure can be summarized as the following: The first chapter is the introduction, which describes the motivation and purpose of the research, the range of research, the methodology, the planning of the creation, and explanation of terms. The second chapter begins with ecological observation of lotus, depicts the burgeoning of lotus seeds, the blooming and fading of lotus flowers, and extends to the expressive significances of lotus within the humanities, religions, and arts; this chapter also discusses “rhythm of lotus,” analyzing how the elaborate-style technique depict the clear-cut shape of lotus while the expressive-style techniques capture lotus’s natural spirit; this chapter ends with the appreciation and analysis of previous master painters and their lotus works. The third chapter consists of my personal creative practices and exploration. I attempt to utilize gouache mineral pigments to achieve a deeper confluence of gouache and ink; I wish the use of multimedia can serve as a better platform for the diversified joining of artistic inheritance and technical and subject innovation. The fourth chapter analyzes the creation of Rhythm of Lotus series. This series can be divided into two sub-series according to the lotus imagery and the perspectives of life: I. Works created primarily with mineral pigments: works of this sub-series include “Formation, Existence, Destruction, and Emptiness,” “Crossing,” “True Emptiness, Wondrous Existence,” and “Imaginary Interpenetration.” Life cycles of lotus represent the change and impermanence of human life; these paintings attempt to depict the natural law embedded within the birth, aging, illness, and death of human beings. II. Works created primarily on the basis of lotus imagery: works of this sub-series include paintings with expressive-style techniques like “Untainted,” “Silent Waiting,” and “Autumnal Lotus” and paintings with elaborate-style techniques like “Light Fragrance,” “Strong Fragrance,” and “Lotus Dreams.” These paintings attempt to explore the inner spirit and outer characteristics of lotus and transform them in this painting series. The fifth chapter will be my reflection of this research and some aspiration for the future.

碩士
國立臺灣藝術大學
造形藝術研究所
94
From Landscape to Mindscape: A Study of KEELUNG Landscape Painting KEELUNG originally named after “chicken cage,”has changed through time. With Its beautiful landscape of mountain and sea, KEELUNG occupies an important geographical position in Northern Taiwan. A combined port for trade, fishery, and military, KEELUNG witnesses coming and going of ships and recounts a past of war and sorrow. Different histories intersect in the port city and open up many possibilities for thought and research. On the other hand. the geological environment also bestows on KEELUNG a special landscape: under the impact of winds and waters, the surrounding Coast was corroded into a protean landscape. The variety and idiosyncrasy of the Landscape make KEELUNG a favorite fountain of inspiration for poets and painters. This thesis focuses on the landscape of KEELUNG It delineates the history and geography of KEELUNG to show the humanistic and geographical characteristics of the port and the city. This discussion will be the basis of the transformation of the Jinjie, or the painting stance. The jurisdiction of the area changes hands several times; Hollanders, Spaniards, Japanese, and Chinese all ruled this city before. The activities of ancestors and relics of different battles accumulate in KEELUNG history. This, with its special natural landscape, adds up the research possibility to its recreational merits. However, in order to study the painting stance objectively, the thesis also analyzes the emotional and ideational stances of the natural landscape. To begin with, the thesis analyzes the aesthetics of “ideational stance” from traditional Chinese ink painting. The concept of “ideational stance” involves learning from nature and elevating the natural-ness; it combines realistic styles with ideational concerns. The structure and brush strokes are imbued with the self-consciousness of the painter. This theory emphasizes the correspondence of the landscape with the painter’s emotion and ideation. The painting must merge the realistic landscape with the painter’s mindscape. Furthermore, this theory also shows how a viewer can connect to the painter’s mindscape through the depicted landscape so as to ensure a mental growth in the viewer. Furthermore, the thesis adopts Shi-tao’s theory, which describes a painting stance of the encounter of painter’s spirit with mountains and creeks. Gu Kai-zhi’s portrait painting theory, which promotes “depicting the spirit through external forms” and “epiphany of the spirit, ”can also be applied to landscape painting. The thesis considers the images of the objects and the relations between form and spirit. The conclusion is that a painter should observe and understand the inner charact