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Autor: Grafiati

Data publikacji: 18 maja 2024

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1

The archaeology of the colonized. London: Routledge, 2004.

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2

W, Andersen Jeffrey, Florence Griswold Museum i Guild Hall of East Hampton., red. En plein air: The art colonies at East Hampton and Old Lyme, 1880-1930 : Florence Griswold Museum, Old Lyme, Connecticut, 20 June-30 July 1989, Guild Hall Museum, East Hampton, New York, 18 June-30 July 1989. [East Hampton]: Guild Hall of East Hampton, 1989.

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3

Imperial landscapes. New Haven [Conn.]: Yale University Press, 2011.

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4

Maxim, International Plein Air (3rd 2008 Slavsʹke Ukraine). Maxim: Miz︠h︡narodnyĭ plener z︠h︡yvopysu, Slavsʹko, 5.10.-18.10. 2008. [Slavsʹke?]: [I︠U︡rkovyt︠s︡i︠a︡?], 2008.

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Maxim, International Plein Air (1st 2007 Slavsʹke Ukraine). Maxim: Miz︠h︡narodnyĭ plener z︠h︡yvopysu, Slavsʹke, 2-14.10.2007. Slavsʹke: I︠U︡rkovyt︠s︡i︠a︡, 2007.

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Maxim International Plein Air (2nd 2008 Slavsʹke, Ukraine). Maxim: Miz︠h︡narodnyĭ plener z︠h︡yvopysu, Slavsʹke, 13-25.05.2008. Slavsʹke: I︠U︡rkovyt︠s︡i︠a︡, 2007.

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Maxim International Plein Air (3rd 2008 Slavsʹke, Ukraine). Maxim: Miz︠h︡narodnyĭ plener z︠h︡yvopysu, Slavsʹko, 5.10.-18.10. 2008. [Slavsʹke?]: [I︠U︡rkovyt︠s︡i︠a︡?], 2008.

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Maxim International Plein Air (1st 2007 Slavsʹke, Ukraine). Maxim: Miz︠h︡narodnyĭ plener z︠h︡yvopysu, Slavsʹke, 2-14.10.2007. Slavsʹke: I︠U︡rkovyt︠s︡i︠a︡, 2007.

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Maxim International Plein Air (2nd 2008 Slavsʹke, Ukraine). Maxim: Miz︠h︡narodnyĭ plener z︠h︡yvopysu, Slavsʹke, 13-25.05.2008. Slavsʹke: I︠U︡rkovyt︠s︡i︠a︡, 2007.

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Maxim International Plein Air (1st 2007 Slavsʹke, Ukraine). Maxim: Miz︠h︡narodnyĭ plener z︠h︡yvopysu, Slavsʹke, 2-14.10.2007. Slavsʹke: I︠U︡rkovyt︠s︡i︠a︡, 2007.

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Maxim International Plein Air (2nd 2008 Slavsʹke, Ukraine). Maxim: Miz︠h︡narodnyĭ plener z︠h︡yvopysu, Slavsʹke, 13-25.05.2008. Slavsʹke: I︠U︡rkovyt︠s︡i︠a︡, 2007.

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12

Maxim International Plein Air (3rd 2008 Slavsʹke, Ukraine). Maxim: Miz︠h︡narodnyĭ plener z︠h︡yvopysu, Slavsʹko, 5.10.-18.10. 2008. [Slavsʹke?]: [I︠U︡rkovyt︠s︡i︠a︡?], 2008.

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13

Acke, J. A. G. (Johan Axel Gustaf), 1859-1924, artist, Gisiko-Spärck Ida 1859-1940 artist, Ahlstedt, August Fredrik, 1839-1901, artist, Danielson-Gambogi Elin 1861-1919 artist i Waldemarsudde (Museum : Djurgården, Stockholm, Sweden), red. Ljus över hav och land: Önningebykolonin på Åland. Stockholm: Prins Eugens Waldemarsudde, 2022.

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14

RHA Gallagher Gallery (Dublin, Ireland) i Ballinglen Arts Foundation, red. Landscape & recollection: The Ballinglen experience. Dublin, Ireland: RHA Gallery Trust, 1997.

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15

Colonial inventions: Landscape, power and representation in nineteenth-century Trinidad. Newcastle upon Tyne: Cambridge Scholars, 2010.

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16

Wängdahl, Lars. En natur för män att grubbla i: Individualitet och officialitet i varbergskolonins landskapsmåleri. Göteborg: Acta Universitatis Gothoburgensis, 2000.

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17

Sowing empire: Landscape and colonization. Minneapolis: University of Minnesota Press, 2004.

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18

Krentz, Stefanie. Havelländische Malerkolonie: Künstler am Schwielowsee um 1900. Ottersberg: Verlag Atelier im, 2011.

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19

Darnaut, Hugo, Heinz Syllaba i Benedikt Vogl. Farben aus dem Paradies: Die Landschaftsgärten des Plankenberger Malerkreises : Hugo Darnaut, Marie Egner, Carl Moll, Therese Schachner, Emil Jakob Schindler, Olga Wisinger-Florian. Neulengbach: Museum Region Neulengbach, 2014.

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20

Crowley, John, i John E. Crowley. Imperial landscapes: Britain's global visual culture, 1745-1820. New Haven [Conn.]: Published for the Paul Mellon Centre for Studies in British Art by Yale University Press, 2011.

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21

Yaron, Hadas. Zionist arabesques: Modern landscapes, non-modern texts. Brighton, Mass: Academic Studies Press, 2010.

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22

Chabrol, Nicolas. L' école de Murols: Peintres des paysages et des neiges d'Auvergne. [Brioude]: N. Chabrol, 1993.

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23

L' École de Murols: Peintres des paysages et des neiges d'Auvergne. Clermont-Ferrand: Un, deux... quatre éditions, 2001.

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24

Rosini, Rosanna Masiola. Pianeti proibiti: Descrizione traduzione intertesti : la semiosi dell'Impero e delle colonie dal Vecchio al Nuovo Mondo, e viceversa. Perugia: Guerra edizioni, 1997.

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25

Frank, McDonald, red. The artists' camps: ʻpleinʼ air painting in Australia. Melbourne, Vic., Australia: Hedley Australia Publications, 1992.

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26

Chabrol, Nicolas. L'école de Murols: Peintres des paysages et des neiges d'Auvergne. [Brioude]: N. Chabrol, 1993.

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27

Larsen, Bent Bang. Landskabet i kunsten: Kunstner- og forfatterliv på Vendsyssels østkyst. Frederikshavn [Denmark]: Nordtryk, 2000.

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28

Du village de peintres à la résidence d'artistes: Worpswede en Allemagne. Paris: Harmattan, 1999.

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29

De ontwikkeling van het zelfbesturend landschap in Nederlandsch-Indië: 1855-1942. Zutphen: Walburg Pers, 2005.

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30

Dennis, Matthew. Cultivating a landscape of peace: Iroquois-European encounters in seventeenth-century America. Ithaca: Cornell University Press, 1993.

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31

Anciens villages, nouveaux peintres: De Barbizon à Pont-Aven. Paris: L'Harmattan, 1995.

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32

Museum, Crocker Art, red. Artists at continent's end: The Monterey Peninsula art colony, 1875-1907. Berkeley: University of California Press, 2006.

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33

Groten, Miel. The Architecture of Empire in Modern Europe. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2022. http://dx.doi.org/10.5117/9789463721479.

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Empires stretched around the world, but also made their presence felt in architecture and urban landscapes. The Architecture of Empire in Modern Europe traces the entanglement of the European built environment with overseas imperialism in the nineteenth and twentieth centuries. As part of imperial networks between metropole and colonies, in cities as diverse as Glasgow, Hamburg, or Paris, numerous new buildings were erected such as factories, mission houses, offices, and museums. These sites developed into the physical manifestations of imperial networks. As Europeans designed, used, and portrayed them, these buildings became meaningful imperial places that conveyed the power relations of empire and Eurocentric self-images. Engaging with recent debates about colonial history and heritage, this book combines a variety of sources, an interdisciplinary approach, and an international scope to produce a cultural history of European imperial architecture across borders.

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34

Colonial encounters in a Native American landscape: The Spanish and Dutch in North America. Washington [D.C.]: Smithsonian Books, 2003.

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35

eG, Volksbank Raiffeisenbank Dachau, red. Kunstsammlung der Volksbank Raiffeisenbank Dachau eG: Ausgewählte Werke aus der Künstlerkolonie Dachau. Dachau: Druckerei und Verlagsanstalt Bayerland, 2010.

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36

Museum, Florence Griswold. Lyme in mind: The Clement C. Moore collection. Old Lyme, Conn: Florence Griswold Museum, 2009.

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37

Jane, Hardy, Megaw J. V. S i Megaw M. Ruth, red. The Heritage of Namatjira: The watercolourists of Central Australia. Port Melbourne, Victoria: William Heinemann Australia, 1992.

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Museum, Florence Griswold. Lyme in mind: The Clement C. Moore collection. Old Lyme, Conn: Florence Griswold Museum, 2009.

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39

Kurtz, Lansing Amy, i Burdan Amanda C. 1973-, red. Lyme in mind: The Clement C. Moore collection. Old Lyme, Conn: Florence Griswold Museum, 2009.

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40

Museum, Lyman Allyn Art, red. A sense of place: Painters of Matunuck, Rhode Island, 1873-1941. New London, CT: Lyman Allyn Art Museum, 2010.

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41

Sharp, Kevin. For spacious skies: Hudson River school paintings from the Henry and Sharon Martin collection. New Britain, CT: New Britain Museum of American Art, 2004.

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42

Natures of colonial change: Environmental relations in the making of the Transkei. Athens: Ohio University Press, 2006.

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43

Environmental imaginaries of the Middle East and North Africa. Athens: Ohio University Press, 2011.

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44

Thomas, Martin. The Artificial Horizon: Reading a Colonised Landscape. Melbourne University Publishing, 2004.

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45

Leavesley, Matthew. Themes in the zooarchaeology of Pleistocene Melanesia. Redaktorzy Umberto Albarella, Mauro Rizzetto, Hannah Russ, Kim Vickers i Sarah Viner-Daniels. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199686476.013.48.

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The first human populations colonized the Bismarck Archipelago about 40,000 years ago. The zooarchaeological evidence from Buang Merabak (New Ireland) reveals that, at a first stage, hunter-gatherers only focused on the exploitation of local faunal resources, especially cave-dwelling bats and varanids. As for other Pleistocene assemblages, the contribution of fish to the diet is negligible. Introduced species appear since about 23,050 cal bp with the northern common cuscus (endemic of New Guinea), although bats still provided most of the meat consumed at the site. In later times, the cuscus dominates the assemblage, partially replacing cave-dwelling bats, and the wallaby is also introduced from New Guinea. The introduction and increasing consumption of the cuscus had major implications in terms of land use and mobility. The initial focus on cave-dwelling bats implied shorter stays at sites and required constant movements through the landscape; the shift towards cuscus consumption reduced mobility.

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Pitts, Martin. Rural Transformation in the Urbanized Landscape. Redaktorzy Martin Millett, Louise Revell i Alison Moore. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199697731.013.039.

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The impact of cities in the urbanized landscape of Roman Britain has long been debated. Were towns and colonies catalysts for rural economic growth or merely islands of colonial culture that served as administrative centres for the collection of tax and rent? Considering recent quantitative studies of artefactual and skeletal evidence, this chapter addresses the relationship between town and country through the lenses of consumption and social inequality. The results suggest consistent and pronounced disparities between the communities of major urban centres and the rest of the populace, in terms of access to commodities, market integration, diet, health, and general quality of life. For the first two centuries after the Claudian conquest, Britain’s first major cities stood apart, benefiting from flows of tribute that did not stimulate or depend on a reciprocal flow of goods to the countryside.

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47

Sandler, Willeke. Seeing the Colonies. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190697907.003.0008.

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This chapter examines colonialists’ use of visual culture to develop metropolitan Germans’ identification with the distant colonial territories. Colonialists mobilized a variety of visual forms, including posters and photography, to reach Germans who had seemed unresponsive to their written and oral propaganda. These images, which colonialists believed had a unique power to transcend viewers’ critical distance, would provide an “experience” of the colonies. Broadly speaking, colonialist visual culture focused on three themes: the creation of a German Heimat in the African landscape, the heroism of colonial Germans, and Germans’ protection of an “authentic Africanness” through their benevolent colonialism. In this arena as well, however, colonialists faced a wealth of visual representations of Africa created by other sources. As case studies of these other representations, the chapter examines Werner Peiner’s African paintings, the commercial imagery of Reklamesammelbilder (illustrated trading cards), and feature films with colonial or African themes.

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48

Armstrong, Catherine. Landscape and Identity in North America's Southern Colonies from 1660 To 1745. Taylor & Francis Group, 2016.

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Armstrong, Catherine. Landscape and Identity in North America's Southern Colonies from 1660 to 1745. Routledge, 2016. http://dx.doi.org/10.4324/9781315591353.

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Armstrong, Catherine. Landscape and Identity in North America's Southern Colonies from 1660 To 1745. Taylor & Francis Group, 2016.

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