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Journal articles on the topic 'Picturesque'

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Author: Grafiati

Published: 4 June 2021

Last updated: 1 August 2024

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1

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

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Abstract This essay argues that the aesthetic category named the picturesque was first systematized in a Welsh colonial context and that picturesque looking always reflects, to some degree, its initially imperialist function. While the picturesque rapidly acceded to a preeminent place in British travel and landscape writing, its rise was contested by Welsh and working-class writers like the antiquarian poet Richard Llwyd (1752–1835). By conspicuously failing to impose picturesque features on a carefully historicized landscape, Llwyd’s poem Beaumaris Bay (1800) lays bare the picturesque’s antihistorical drive to eradicate local difference. Renewed critical attention to early attempts to establish an antipicturesque aesthetic may uncover important precursors to present-day postcolonial and transnational theory, precursors that can enrich the ongoing global turn in literary history.

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2

McIntosh, Monique. "Picturesque." Wasafiri 33, no. 2 (April 3, 2018): 80–85. http://dx.doi.org/10.1080/02690055.2018.1431187.

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3

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

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4

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

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5

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

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6

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

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7

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

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8

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

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9

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

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10

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

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11

Gerke, Stefanie. "PICTURESQUE POLAROIDS." photographies 12, no. 2 (May 4, 2019): 195–207. http://dx.doi.org/10.1080/17540763.2019.1585935.

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12

Oxley, William. "The Inexplicable Picturesque." Books Ireland, no. 211 (1998): 66. http://dx.doi.org/10.2307/20623571.

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13

TROTTER, DAVID. "Naturalism's phobic picturesque." Critical Quarterly 51, no. 1 (April 2009): 33–58. http://dx.doi.org/10.1111/j.1467-8705.2009.01844.x.

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14

Wollenberg, Susan. "The musical picturesque." Early Music XXIX, no. 2 (May 2001): 292–93. http://dx.doi.org/10.1093/earlyj/xxix.2.292.

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15

Pacey, Philip. "The Picturesque Railway." Visual Resources 18, no. 4 (January 2002): 285–309. http://dx.doi.org/10.1080/0197376022000048632.

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16

Ackerman, James S. "The Photographic Picturesque." Artibus et Historiae 24, no. 48 (2003): 73. http://dx.doi.org/10.2307/1483732.

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17

Moravánszky, Ákos. "Camillo Sitte: Romantic or Realist? the Picturesque City Reconsidered." East Central Europe 33, no. 1-2 (2006): 293–308. http://dx.doi.org/10.1163/187633006x00141.

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AbstractAustrian architect Camillo Sitte, author of the important treatise on urban design, Der Städtebau nach seinen künstlerischen Grundsätzen (1889), is known as the founder of romantic "picturesque" urbanism. One has to differentiate, however, between the two meanings of the German term das Malerische: "picturesque" and "painterly." Sitte is clearly connected with the representatives of modem picturesque urbanism. In his "Townscape Casebook," Gordon Cullen published a collection of photos and sketches to reinvigorate a picturesque way of seeing and thus set forth a basis for the design of the environment based on picturesque principles. Cullen proposed the concept of the townscape to develop a comprehensive "field of vision" that gathered heterogeneous elements into a unified whole - an idea that influenced the work of the American urban theorist Kevin Lynch. In fact, populist arguments could be detected in those representations of the picturesque as a way of seeing that corresponded to the supposed "national character." Sitte himself expected a "unified national work of art" to emerge as a result of the "popular synthesizing" of all the visual arts.

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18

Carter, Rand, John Dixon Hunt, and Charles-Joseph de Ligne. "Gardens and the Picturesque." Eighteenth-Century Studies 28, no. 2 (1994): 267. http://dx.doi.org/10.2307/2739207.

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19

Robinson, Sidney K. "Inquiry into the Picturesque." Journal of Aesthetics and Art Criticism 50, no. 3 (1992): 273. http://dx.doi.org/10.2307/431249.

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20

Meyer, Elizabeth K. "INQUIRY INTO THE PICTURESQUE." Landscape Journal 12, no. 1 (1993): 77–79. http://dx.doi.org/10.3368/lj.12.1.77.

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21

Fichtelberg, Joseph. "Emily Dickinson's Picturesque War." Nineteenth Century Studies 28, no. 1 (January 1, 2014): 87–108. http://dx.doi.org/10.5325/ninecentstud.28.2014.0087.

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22

Ulyanova, Natalia. "A picturesque interior space." проект байкал, no. 73 (October 21, 2022): 104–6. http://dx.doi.org/10.51461/pb.73.18.

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The dwelling interior is an essential component of everyday happiness. One of the most ancient and effective means to achieve psychological comfort in the house is easel interior painting. The process of creating interior paintings for two very different customers is considered through specific examples. It is shown that the final result should take into account both the personal characteristics of the person for whom the picture is intended and the ergonomic characteristics of the living space, its size, lighting, and so on.

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23

Thomas, Gavin, Lucy Shelton, John Constable, John Hollander, BBC Symphony Orchestra, and Andrew Davis. "Crashing through the Picturesque." Musical Times 136, no. 1828 (June 1995): 285. http://dx.doi.org/10.2307/1004098.

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24

Plebuch, Tobias. "Listening to Picturesque Music." 19th-Century Music 27, no. 2 (2003): 156–65. http://dx.doi.org/10.1525/ncm.2003.27.2.156.

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25

Ballantyne, Andrew. "GENEALOGY OF THE PICTURESQUE." British Journal of Aesthetics 32, no. 4 (1992): 320–29. http://dx.doi.org/10.1093/bjaesthetics/32.4.320.

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26

Crompton, Andrew. "Fractals and Picturesque Composition." Environment and Planning B: Planning and Design 29, no. 3 (June 2002): 451–59. http://dx.doi.org/10.1068/b12822.

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In this paper fractals are identified in classical mouldings by means of an algorithm for drawing Levy staircases. It is argued that traditional rules of composition favour fractal forms such as these, and advice on composition, taken from Ruskin, is examined to support this view. Because fractals are ubiquitous in nature their use in design offers a way to appear natural. The lack of fractals in modern architecture may therefore be connected to a lack of interest in picturesque composition.

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27

McGillivray, Glen. "The Picturesque World Stage." Performance Research 13, no. 4 (December 2008): 127–39. http://dx.doi.org/10.1080/13528160902875713.

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28

Batey, Mavis. "The Picturesque: An Overview." Garden History 22, no. 2 (1994): 121. http://dx.doi.org/10.2307/1587022.

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29

Ballestero, Diego. "Picturesque Savagery on Display." Anthropological Journal of European Cultures 31, no. 2 (September 1, 2022): 65–88. http://dx.doi.org/10.3167/ajec.2022.310205.

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Abstract This article discusses the importance of commercial exhibitions of Indigenous people in the development of anthropological practices in South America between the late nineteenth and early twentieth centuries. First, it examines the intrinsic links between commercial ventures based on the exhibition of Indigenous people and anthropological practices. These spaces of scientific popularisation allowed the anthropologists to economise the time, economic, material and human resources involved in an excursion to the field in the classic sense. The article then presents and examines the anthropometric, linguistic, photographic and musicological investigations that the German anthropologist Robert Lehmann-Nitsche (1872–1938) conducted between 1898 and 1904 on Selk'nam, Qom and Tehuelche groups exhibited in local and international commercial enterprises. Finally, through Lehmann-Nitsche's research, I explore of how European anthropologists profited from these commercial ventures for the study of indigenous people, the use of urban spaces for ‘fieldwork’ and their transformation into anthropological ‘laboratories’.

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30

Kozakowska-Zaucha, Urszula. "Jacek Malczewski’s picturesque story." Trimarium 1, no. 1 (April 24, 2023): 360–71. http://dx.doi.org/10.55159/tri.2023.0101.15.

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Jacek Malczewski was a painter who, in his monumental artistic output, left works revolving around the problems of homeland, freedom and lost identity, life and death, spanning between romantic visions and metaphysics. He was inspired by the art of antiquity, Polish Romanticism, but also tapped into folklore, complicating the meaning of his paintings with symbolism that was not always easy to understand. It was a multi-layered oeuvre, a testament to his great erudition, but also to the imagination and sensitivity of a refined humanist. In his paintings, he also asked about the essence of being an artist, the artist’s responsibility, and was interested in the problem of whether artists are really only masters of themselves, or whether they have a responsibility for the artistic tasks they take on. During the seventy-five years of the artist’s life, the history of Europe and Poland changed profoundly. His creative personality was mainly influenced by Poland’s loss of independence which entailed an identity crisis. Throughout his artistic path, Malczewski subscribed to the inherent mission of art to build national identity through creative exploration of various myths. He illustrated the dream of freedom and independence, showed the suffering of the nation and its sacrifice, and recalled the idea of the homeland which was to be both a homeland, a home, but also the foundation of national culture.

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31

Jacobs, Steven. "Screening Landscapes: Film between the Picturesque and the Painterly." Acta Universitatis Sapientiae, Film and Media Studies 19, no. 1 (March 1, 2021): 1–16. http://dx.doi.org/10.2478/ausfm-2021-0001.

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Abstract Inherently connected to movement and to a sequential spatial experience in time, the picturesque has been considered as a precursor of the cinematic. In addition, the idea of the picturesque is closely connected to Heinrich Wölfflin’s notion of das Malerische or “the painterly,” which stands for a dynamic style of painting characterized by qualities of colour, stroke, and texture rather than of contour or line. Based on the keynote lecture delivered at the conference, The Picturesque: Visual Pleasure and Intermediality in-between Contemporary Cinema, Art and Digital Culture (Sapientia Hungarian University of Transylvania, 25–26 October, 2019), 1 the essay disentangles the complex network of connections between image and landscape, painting and film, the picturesque and the painterly.

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32

SQUIRES, Rebecca J. "The Sentimental Traverse of Claude-Henri Watelet’s Eighteenth-Century Picturesque Garden Isle, The Moulin Joly." Studia Universitatis Babeș-Bolyai Philologia 68, no. 3 (September 30, 2023): 119–36. http://dx.doi.org/10.24193/subbphilo.2023.3.07.

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The Sentimental Traverse of Claude-Henri Watelet’s Eighteenth-Century Picturesque Garden Isle, the Moulin Joly. Claude-Henri Watelet’s 1774 Essai sur les jardins (Essay on Gardens) was the first French garden treatise to enter the picturesque garden debat

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33

Gannouni Khemiri, Imene. "“Pretty as a Picture”." Journeys 22, no. 1 (June 1, 2021): 89–106. http://dx.doi.org/10.3167/jys.2021.220106.

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Recently, there has been an upsurge of interest in travel writing, postcolonialism, and landscape politics. However, studies of travel writing addressing the notion of the picturesque have not yet explored the idea of aesthetic sensibility in British travel narratives in the Regency of Tunis. This article examines the aesthetics of the picturesque in three British travel accounts: Grenville Temple’s Excursions in the Mediterranean: Algiers and Tunis (1835); Robert Lambert Playfair’s Travels in the Footsteps of Bruce in Algeria and Tunis (1877); and Henry Spencer Ashbee and Alexander Graham’s Travels in Tunisia (1887). These travelers used the picturesque in different but interlinked ways; they oscillated between finding the uncanny landscape an object of delight where it conformed to British aesthetic doctrine and an object of derision where they noted aesthetic deficiencies. By the turn of the nineteenth century, this picturesque way of seeing shifted into an Orientalist desire for “Otherness.”

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34

Lafford, Erin. "William Gilpin's Atmospheric Sympathy." Romanticism 27, no. 2 (July 2021): 159–72. http://dx.doi.org/10.3366/rom.2021.0506.

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The picturesque, especially as imagined by William Gilpin, has long been critiqued as lacking in social conscience. The picturesque tourist is more often considered as detached from both the views and the people he encounters than as being sympathetically involved in either the local environment or its communities. This essay argues that paying closer attention to the importance and prevalence of atmosphere in Gilpin's picturesque provides an opportunity to reconsider such disinterest, as well as to acknowledge anxieties surrounding an embodied environmental sympathy in his writings that bears the influence of eighteenth-century medical thought. As both the aerial and meteorological conditions of a particular place and as a surrounding emotional or moral element, atmosphere is a medium through which Gilpin negotiates physical and emotional distance and proximity, revealing the picturesque tourist as a subject who feels their way into relationship with places and people, but who also negotiates the limits of that feeling.

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35

Krier, Léon. "Picturesque comments on Vitruvian architecture." Symmetry: Culture and Science 29, no. 3 (September 2018): 441–47. http://dx.doi.org/10.26830/symmetry_2018_3_441.

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36

Krier, Léon. "Picturesque comments on contemporary architecture." Symmetry: Culture and Science 30, no. 1 (2019): 108–11. http://dx.doi.org/10.26830/symmetry_2019_1_108.

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37

MUTTER, SARAH MAHURIN. "Godfrey St. Peter’s “Picturesque Shipwreck”." American Literary Realism 42, no. 1 (October 1, 2009): 54–71. http://dx.doi.org/10.5406/amerlitereal.42.1.0054.

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38

Mutter, Sarah Mahurin. "Godfrey St. Peter's "Picturesque Shipwreck"." American Literary Realism 42, no. 1 (2009): 54–71. http://dx.doi.org/10.1353/alr.0.0037.

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39

Paden, Roger. "A Defense of the Picturesque." Environmental Philosophy 10, no. 2 (2013): 1–21. http://dx.doi.org/10.5840/envirophil201310212.

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40

Komara, Ann. "Concrete and the Engineered Picturesque." Journal of Architectural Education 58, no. 1 (September 2004): 5–12. http://dx.doi.org/10.1162/1046488041578158.

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41

Hill, R. "Keats, Antiquarianism, and the Picturesque." Essays in Criticism 64, no. 2 (April 1, 2014): 119–37. http://dx.doi.org/10.1093/escrit/cgu005.

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42

Batey, Mavis. "Two Romantic Picturesque Flower Gardens." Garden History 22, no. 2 (1994): 197. http://dx.doi.org/10.2307/1587027.

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43

Marshall, David 1953 Dec. "The Problem of the Picturesque." Eighteenth-Century Studies 35, no. 3 (2002): 413–37. http://dx.doi.org/10.1353/ecs.2002.0029.

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44

Kainen, Jacob, and Kathleen Pyne. "Whistler, Aesthetics, and the Picturesque." American Art 9, no. 2 (July 1995): 95–98. http://dx.doi.org/10.1086/424247.

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45

Sharpe, Jenny. "Life, Labor and the Picturesque:." Crossings: A Journal of English Studies 6 (December 1, 2015): 2. http://dx.doi.org/10.59817/cjes.v6i.179.

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The keynote address examines the race-gendering of Indian indentured workers in the colonial imaginary through which Jamaica was remade as a tourist destination during the late nineteenth century. It specifically examines the visual portfolio created by photographers of tropical fecundity and idyllic rural life that would dispel the perception of Jamaican plantations being ruined by the emancipation of slaves. While scholars are critical of the Oriental picturesque projected by these photographs, Professor Sharpe makes a case for a “coolie picturesque”depicting Asian Indians as an uprooted people who do not belong in the New World. This colonial imaginary continues to haunt the perception of Indo-Caribbeans as outsiders to the region even until today

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46

Roy, Samragngi. ""Why must fireflies die so young?" The Picturesque of Caution in the Works of Studio Ghibli." Journal of Anime and Manga Studies 3 (December 14, 2022): 118–46. http://dx.doi.org/10.21900/j.jams.v3.963.

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As opposed to most contemporary usage of the word “picturesque” – which is generally taken to mean visually attractive in a quaint or charming way, or else something that resembles a picture – William Gilpin introduced this term to the English cultural debate in 1792. Gilpin used “picturesque” to typify an aesthetic ideal wherein roughness, raggedness, and ruins would be privileged over smoothness, symmetry and perfection. Over time, his conceptualization of “the picturesque” led to a celebration of disorder, decay, and ruin, a kind of glorification of violence also familiar to the Gothic romances of the late eighteenth and early nineteenth centuries. However, following the unimaginable havoc and mass destruction caused by the two world wars, ruins and images of ruins started to be viewed very differently. This paper seeks to explore how the picturesque mode has been used as an instrument of caution in the works of Studio Ghibli, spearheaded by two creative artists and directors, Hayao Miyazaki and Takahata Isao, who have experienced the horrors of WWII firsthand in their own childhoods. This paper specifically looks at two famous anime feature films produced by Studio Ghibli – Grave of the Fireflies (1988) and Howl's Moving Castle (2004) – that deal with the impacts of war and convey strong anti-war messages by uniquely employing the picturesque mode of representation.

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47

Slater, Eamonn. "Contested Terrain: Differing Interpretations of Co. Wicklow's Landscape." Irish Journal of Sociology 3, no. 1 (May 1993): 23–55. http://dx.doi.org/10.1177/079160359300300102.

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This paper looks at how Irish landscape was interpreted in the mid 1800s, when modern tourism in Ireland began. It attempts to discover the ideological structures present in this appreciation of Irish landscape, and it does so in relation with the Hall's description of Co. Wicklow landscape. It argues that there are two ‘socially constructed’ ways to read Irish landscape, the picturesque and the oral interpretations, which create senses of detachment and attachment respectively to the local terrain. It explores in this context how the picturesque corresponds to the way an outsider wishes to gaze upon a landscape, either as a colonialising landlord or as a tourist. Although the picturesque excludes human work from its vision, it was manufactured in the demesnes of the landlord class according to compositional techniques. But the ideological structure of the beautiful aspect of the picturesque excludes the native people who actually live in the landscape, because they are seen as a source of disharmony. The native gaze, on the contrary, creates a sense of attachment to the local place.

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48

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

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ABSTRACTIn eighteenth-century England, painting, poetry and gardening were often labelled the ‘sister arts’. An increasing interest in English landscape scenes and an emerging taste for ‘nature tourism’ gave rise to the ‘picturesque’ movement. Contemporary writers seldom considered English music as part of this ‘sisterhood’, however, or treated music as a medium for conveying national scenic beauty. When the picturesque was discussed in connection with music, eighteenth-century critics tended to use the concept to explain the tactics of novelty and surprise encountered in German instrumental music. Plays with regularity and expectation were analogous to the surprises and irregularities of picturesque ‘beauty spots’ – natural features studied and imitated by contemporary landscape gardeners. Accordingly, recent musicological studies of the picturesque have also preferred to emphasize its kinship with the unconventional or subversive formal schemas in instrumental music by German composers.This article addresses the silent aporia in this discourse: the apparent absence of any participation in the picturesque movement by composers from England, the country most closely associated with this aesthetic. Focusing on the pictorialism and pastoralism of eighteenth-century English song texts and their musical treatment, this article reveals previously ignored connections between the veneration of national landscape and English vocal music. In consequence, the glee – a decidedly marginal genre in traditional eighteenth-century music historiography – emerges at the centre of contemporary aesthetic concerns, as the foremost musical vehicle for the expression of a distinctively English, painterly engagement with national landscapes.

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49

Michasiw, Kim Ian. "Nine Revisionist Theses on the Picturesque." Representations 38, no. 1 (April 1992): 76–100. http://dx.doi.org/10.1525/rep.1992.38.1.99p0110e.

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50

Ross, Stephanie. "The Picturesque: An Eighteenth-Century Debate." Journal of Aesthetics and Art Criticism 46, no. 2 (1987): 271. http://dx.doi.org/10.2307/431865.

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