Статті в журналах: "Landscape in art"

1

Faison, Edward K. "Seeing the Landscape in Landscape Art." Arnoldia 73, no. 2 (2015): 2–18. http://dx.doi.org/10.5962/p.251219.

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Zhang, Yuanhang. "The Application of Earth Art in the Landscape Design of Public Space." Highlights in Art and Design 2, no. 1 (February 20, 2023): 49–53. http://dx.doi.org/10.54097/hiaad.v2i1.5324.

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The modern landscape design trend that emerged in the background of the times is a product of the continuous development of social politics, economy and As one of the more unusual ideas in modern landscape design, Earth Art was born in the wilderness in the early stages of its development and was subject to some limitations in terms of place and concept, but some of the ideas derived from its work for the earth. subject to some limitations in terms of place and concept, but some of the ideas derived from its work for the earthy landscape environment gradually took Earth art attempts to reclaim nature as a space for experience, as a space for reconstructing Earth art attempts to reclaim nature as a space for experience, as a space for reconstructing the relationship between people and the environment, and in some ways it has become an approach that can be drawn upon to develop a new language for the This thesis takes the geodesic landscape as the object of study and establishes an aesthetic paradigm for the landscape based on the study consists of three levels of the aesthetic paradigm for the landscape: the first level of the aesthetic nature of the geodesic art landscape (the first level of the aesthetic nature of the landscape) and the first level of the aesthetic nature of the landscape. the first level of the aesthetic nature of the geodesic art landscape (value theory), the second level of the aesthetic scope of the geodesic art landscape (methodology), and the third level of the third level of the aesthetic form of the geodesic art landscape (design approach). Through the study of the aesthetic thought of geodesic landscapes, a deeper understanding of geodesic landscapes will be enhanced and a reference By clarifying the aesthetic thinking of contemporary landscape development, it will enable a better By clarifying the aesthetic thinking of contemporary landscape development, it will enable a better integration of modern western landscape design thinking with China's local environment and provide a theoretical basis for China's urban landscape The thesis uses both documentary research methods and case studies to analyse and study three aspects of the aesthetic nature, The thesis uses both documentary research methods and case studies to analyse and study three aspects of the aesthetic nature, aesthetic categories and aesthetic forms of earth art landscapes.

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3

F. Nunes, Israel, and Lucia Maria S. A. Costa. "Paisagem Experimental:." Revista Prumo 4, no. 7 (November 15, 2019): 152–65. http://dx.doi.org/10.24168/revistaprumo.v4i7.1127.

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The links among public space, landscape, and contemporary art are the central theme of this paper. In shaping a landscape design essay for a public park on a silted waterfront in the city of Ilhéus - BA, Brazil, dynamic alter-natives are introduced for the renovation of the public space, based upon the diversification of common uses. The purpose is to build a connection between landscape and art through the re-signification of the natural and cultural processes of the specific site, which may promote a new collective sense of place. The work presents as its theoretical support studies that look at the landscape from its active aspect and discuss the extended field of contemporary art. The paper concludes stressing the importance of the active role of landscape architecture in urban places reconfiguration. Key-Words: Landscape architecture, Urban park, Contemporary Art

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4

Muller, Stephanus. "Apartheid Aesthetics and Insignificant Art." Journal of Musicology 33, no. 1 (January 1, 2016): 45–69. http://dx.doi.org/10.1525/jm.2016.33.1.45.

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Stephanus Le Roux Marais (1896−1979) lived in Graaff-Reinet, South Africa, for nearly a quarter of a century. He taught music at the local secondary school, composed most of his extended output of Afrikaans art songs, and painted a number of small landscapes in the garden of his small house, nestled in the bend of the Sunday’s River. Marais’s music earned him a position of cultural significance in the decades of Afrikaner dominance of South Africa. His best-known songs (“Heimwee,” “Kom dans, Klaradyn,” and “Oktobermaand”) earned him the local appellation of “the Afrikaans Schubert” and were famously sung all over the world by the soprano Mimi Coertse. The role his ouevre played in the construction of a so-called European culture in Africa is uncontested. Yet surprisingly little attention has been paid to the rich evocations of landscape encountered in Marais’s work. Contextualized by a selection of Marais’s paintings, this article glosses the index of landscape in this body of cultural production. The prevalence of landscape in Marais’s work and the range of its expression contribute novel perspectives to understanding colonial constructions of the twentieth-century South African landscape. Like the vast, empty, and ancient landscape of the Karoo, where Marais lived during the last decades of his life, his music assumes specificity not through efforts to prioritize individual expression, but through the distinct absence of such efforts. Listening for landscape in Marais’s songs, one encounters the embrace of generic musical conventions as a condition for the construction of a particular national identity. Colonial white landscape, Marais’s work seems to suggest, is deprived of a compelling musical aesthetic by its very embrace and desired possession of that landscape.

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Benedict, Jessieca Joseph, Mohd Fazli Othman, Syed Zamzur Akasah Syed Ahmed Jalaluddin, and Rafeah Legino. "The Spirituality of Papar Landscape." Environment-Behaviour Proceedings Journal 7, SI9 (October 10, 2022): 75–79. http://dx.doi.org/10.21834/ebpj.v7isi9.3941.

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Art's function has allowed artists to express themselves for centuries. Art was once created solely for religious reasons, especially with the rise of the Catholic Church. The Industrial Revolution and the church's declining influence in the 19th century opened people's eyes to emotion and imagination, which Romanticists later portrayed artistically. This led to nature mysticism and landscape paintings. Similarly, St. Ignatius' Ignatian Spirituality corresponds to the divine yearning in nature. Spirituality and art can go hand in hand, say Jesuit priest-artists. Mystical landscapes reveal humanity's spiritual connection to nature. Artists explore emotion and spirituality through monochromatic art because it can provoke deeply personal experiences My art explores landscape's spirituality. I like how it evokes spirituality, longing, and comfort. Keywords: Spirituality; Papar Landscape eISSN: 2398-4287 © 2022. The Authors. Published for AMER ABRA cE-Bs by E-International Publishing House, Ltd., UK. This is an open-access article under the CC BY-NC-ND license (http://creativecommons.org/licenses/by-nc-nd/4.0/). Peer-review under responsibility of AMER (Association of Malaysian Environment-Behavior Researchers), ABRA (Association of Behavioral Researchers on Asians), and cE-Bs (Centre for Environment-Behavior Studies), Faculty of Architecture, Planning & Surveying, Universiti Teknologi MARA, Malaysia. DOI: https://doi.org/10.21834/ebpj.v7iSI9.3941

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6

Balm, Roger, and Malcolm Andrews. "Landscape and Western Art." Geographical Review 90, no. 4 (October 2000): 649. http://dx.doi.org/10.2307/3250790.

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7

Crawford, Alistair. "Landscape photography as art." Landscape Research 17, no. 1 (March 1992): 2–8. http://dx.doi.org/10.1080/01426399208706351.

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8

Moignard, Elizabeth. "LANDSCAPE IN GREEK ART." Classical Review 53, no. 2 (October 2003): 452–54. http://dx.doi.org/10.1093/cr/53.2.452.

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Джанджугазова, Елена, and Elena Dzhandzhugazova. "Area of Russian landscape." Service & Tourism: Current Challenges 8, no. 1 (March 31, 2014): 83–88. http://dx.doi.org/10.12737/3411.

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The article considers evaluation of esthetic characteristics of landscape on the basis of the best examples of Russian landscape pictorial art. The author offers readers to analyse and evaluate landscape scenes representing story line of popular Polenov´s landscapes.

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10

Lu, Sa. "The Ideological Foundations of Chinese Traditional Landscape Painting Art." Философия и культура, no. 10 (October 2022): 144–57. http://dx.doi.org/10.7256/2454-0757.2022.10.38818.

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The article analyzes the ideological foundations of the emergence and evolution of landscape in Chinese painting as an independent genre from the III to the XVIII century, before the rapid integration of Western European artistic traditions. Landscape painting is considered as an expression of the state of mind of Chinese artists, the prevailing philosophical ideas, in particular Taoism, the embodiment of literary images associated with the natural origin. Despite the attention of the scientific community to the development of images of nature in the art of ancient and modern China, there are few studies devoted to the causes and justification of certain processes that influenced the formation of the genre. The purpose of the study is to analyze the reasons for the appearance of images and motifs in the landscapes of Chinese artists in connection with the philosophical ideas of that time, cultural connotations in poetry and the principles of landscape art. The tasks include determining the most typical range of scenes and images in landscapes created from the III to XVIII centuries. The material is the work of Chinese artists who lived since the reign of the Wei Dynasty, during the heyday of landscapes in the era of the Tang Dynasty and up to the XVIII century. Of interest is the study of the mechanism of influence on the formation of figurative systems in Chinese landscape painting that developed in parallel poetry and landscape art.

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ERDOĞAN, Reyhan, Yazar Adı Yazar Soyadı, Rıfat OLGUN, Oğuzhan ÖZÇATALBAŞ, and Faik ŞAVKLI. "PENJING IN THE CHINESE LANDSCAPE ART (MINIATURE LANDSCAPE)." INTERNATIONAL REFEREED JOURNAL OF DESIGN AND ARCHITECTURE, no. 5 (August 30, 2015): 98. http://dx.doi.org/10.17365/tmd.2015511329.

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12

Chen, Linze, Junhan Liu, and Yang Zhao. "Innovation and Development: An Analysis of Landscape Construction Factors in Quanzhou Maritime Silkroad Art Park." Sustainability 15, no. 4 (February 9, 2023): 3157. http://dx.doi.org/10.3390/su15043157.

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From the perspective of tourists, this paper takes Quanzhou Maritime Silkroad Art Park as the research object to study the botanical landscape factors concerned with tourists in the theme park. Through a questionnaire survey, and combined with interviews, the collected results were scientifically analysed using the data. According to the statistical results, the factors of plant landscape construction in the theme park concerned with tourists were summarised, extracted, and named, which were “plant landscape healing”, “plant landscape culture”, “plant landscape continuity”, “plant landscape spatial sense”, and “plant landscape aesthetic sense”. Through an in-depth analysis of the five common factors of the construction of modern theme park plant landscapes, this study creatively centred on the construction of theme park landscapes and established a scientific evaluation system, combined with the development and construction of the park, and put forward innovative and constructive suggestions based on the summary and analysis results. It provides a scientific reference for plant landscape construction in other theme parks.

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13

Lipský, Zdeněk, and Dušan Romportl. "Landscape typology in Czechia and abroad: State of the art, methods and theoretical basis." Geografie 112, no. 1 (2007): 61–83. http://dx.doi.org/10.37040/geografie2007112010061.

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The main goal of this paper is to introduce the importance of landscape typology in present times when many landscapes are exposed to dynamic human impacts such as land use changes, urbanization, intensive agriculture, forestry or industrialization. Different approaches to landscape typology in Czechia and other European countries as well as relations of landscape typology to landscape character assessment and the European Landscape Convention are discussed. A requirement of a new exact and applicable landscape typology is a great challenge for Czech geographers.

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França, Ana Marcela. "Paisagem e natureza na arte contemporânea: ressignificação do espaço e experiência da obra." Revista Prumo 5, no. 8 (April 23, 2020): 110–21. http://dx.doi.org/10.24168/revistaprumo.v0i8.1245.

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This paper aims to discuss the installations made in the 1970s to the present day, which dialogue directly with the “natural” landscape, extending the significance of the artistic object to the reconfiguration of the space. In particular, works that have action in the biophysical space will be discussed, in which elements of the environment become devices of artistic manifestation. It will be seen that these performances transform the landscape and the notion of a work of art, creating tensions in what we understand as nature and culture.

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15

Наталія Дігтяр and Олександр Тарасенко. "COMPOSITION IN THE LANDSCAPE: ART AND PEDAGOGICAL ASPECT." Problems of Modern Teacher Training, no. 2(22) (October 1, 2021): 49–55. http://dx.doi.org/10.31499/2307-4914.2(22).2020.219394.

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The author emphasizes the importance of studying the landscape as a genre of fine arts by students. The laws and techniques of composition are the basis, the basis of writing works of all genres of painting that is why compositional competencies are the main place in the structure of art education. This is especially true of landscape composition.Creating a landscape involves drawing in the open air, outdoors. The work should start with finding the best location – landscaping locations. It is well known in an art practice that any composition begins with sketches. The same goes for landscape composition. It is emphasized that in the course of future teachers' of fine arts professional training should be acquainted with the basic laws of the construction of landscape composition on the plane, the means of applying the method of golden intersection in landscapes, methods of reaching the depth of space in the image of the surrounding nature in different compositional formats and compositional generalization; step-by-step work from compositional searches to detailing and completion of a complete artistic landscape image. Art educators argue that all the details in the landscape should be well connected and helped to express the overall idea of the composition. To do this, students need to focus on more area characteristic features, select the most typical landscape objects. It is revealed that the landscape is not just a copy of nature from nature, but also the expression of the artist's attitude to nature, the transfer of the artist's own mood, their experiences and emotions. The author emphasizes the importance of studying the соmpositional techniques in the landscape should be applied not formally, but in order to best express the main idea of the artist. The author agrees with the opinion of artist-educators, who argue that students should be given the opportunity to independently set certain compositional tasks and perform them independently in the creation of a landscape.

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Misni, Alamah Misni, and Anwar Suran. "AN INTEGRATED PUBLIC ART IN PUTRAJAYA URBAN LANDSCAPE." Built Environment Journal 15, no. 2 (July 30, 2018): 48. http://dx.doi.org/10.24191/bej.v15i2.9708.

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The art found in public space represents a local social and cultural situation, as well as the artistic and aesthetic tendencies. There is a close relationship between the public art and the city landscape. Public art is part of the broader visual environment of buildings, landscapes, and infrastructure. It can promote a sense of place, contribute to legibility or wayfinding, and support efforts to quality urban design. It can be in the form of sculpture, street furniture, mural, and even fountain structure. This research focuses on the user's perception and appreciation of integrated public art in the Putrajaya urban landscape. Data was collected using qualitative and quantitative methods. The case study data collections were conducted through a survey, observation, and distribution of questionnaires. The case study was carried out in the Putrajaya urban landscape. Putrajaya was selected as a case study because it is the new administrative capital of Malaysia that has seen the need to be distinctively outstanding in both its characteristics and development. Putrajaya has revealed the influence of public art in enforcing and strengthening the identity of the city. Subsequently, the recommendation has been made to enhance the planning process and management system by the local authority in the Putrajaya urban landscape. Therefore, this research will help to generate the social awareness and understanding of the effort of integrating public art into the Malaysian urban landscape. Keywords: Putrajaya, planning, public art, sense of place, urban landscape

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17

Milani (book author), Raffaele, Corrado Federici (book translator), and Elena C. Napolitano (review author). "The Art of the Landscape." Quaderni d'italianistica 30, no. 2 (June 1, 2009): 189–91. http://dx.doi.org/10.33137/q.i..v30i2.11925.

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Porshnev, V. P. "Landscape art in Ptolemy Egypt." Vestnik of Saint Petersburg State University of Culture, no. 2 (31) (June 2017): 26–29. http://dx.doi.org/10.30725/2619-0303-2017-2-26-29.

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Jorge Camacho, Cristina. "Land Art vs Landscape Architecture." Constelaciones. Revista de Arquitectura de la Universidad CEU San Pablo, no. 4 (May 1, 2016): 117–29. http://dx.doi.org/10.31921/constelaciones.n4a8.

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La descripción de los fenómenos atmosféricos según los grados de intensidad –vientos escala Beaufort 0, 1, 2,…– y su representación mediante diagramas sirven para medir futuras contribuciones energéticas y prevenir sequías e inundaciones a través de programas de simulación meteorológica como Real Flow o Flow Design en el entorno BIM. Como antecedente en el control de estos parámetros, determinados videos de obras de Land Art muestran cómo la acción del viento, la lluvia o los relámpagos potencian los efectos del tiempo sobre dichas obras como Air Art. Actualmente estas mediciones se utilizan en sistemas cerrados como las instalaciones domésticas Interior Weather de Philippe Rahm o Rain de Junya Ishigami o en sistemas abiertos como las redes de instalaciones Infraestructural Urbanism de Stan Allen o Landscape Urbanism de James Corner.

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20

Haldane, John. "Transforming Nature: Art and Landscape." Art Book 10, no. 3 (June 2003): 10–12. http://dx.doi.org/10.1111/1467-8357.00342.

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21

Cartes, I. "Art in the urban landscape." Urban Design International 2, no. 4 (December 1, 1997): 189–98. http://dx.doi.org/10.1080/135753197350588.

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Crawford, Alistair, and Peter Howard. "Editorial: landscape, photography and art." Landscape Research 17, no. 1 (March 1992): 1. http://dx.doi.org/10.1080/01426399208706350.

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23

Sorvig, Kim. "The Art of Landscape Detail." Landscape and Urban Planning 49, no. 1-2 (May 2000): 87–88. http://dx.doi.org/10.1016/s0169-2046(00)00049-9.

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Cartes, I. "Art in the urban landscape." URBAN DESIGN International 2, no. 4 (December 1997): 189–98. http://dx.doi.org/10.1057/udi.1997.31.

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25

Merriman, Peter, and Catrin Webster. "Travel projects: landscape, art, movement." cultural geographies 16, no. 4 (October 2009): 525–35. http://dx.doi.org/10.1177/1474474009340120.

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Sanad, Reham, and Zainab Salim Aqil Alhadi Baomar. "A study of landscape painting development – Past, present and future perspectives." New Trends and Issues Proceedings on Humanities and Social Sciences 8, no. 1 (June 4, 2021): 01–11. http://dx.doi.org/10.18844/prosoc.v7i4.5774.

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This study is focused on landscape paintings’ characteristics throughout history. It starts with primitive cave paintings passed through the ancient civilisations, then followed by the main art movements and styles and ends with the contemporary style landscape paintings. Future prospects and expectations for landscape representations were also considered. It was found that landscape representation has been the focus for most artists because of its link to their normal lives. In the primitive caves, illustrations of plants and animals were found covering caves’ walls. Landscape backgrounds were used in the ancient Egyptian civilisation and lost its significance in the Greece style to reappear with the Roman artists with special concern and perspective. The Renaissance era witnessed more progress in landscape paintings’ subjects and perspective. Baroque paintings initiated the focus on independent landscape paintings to be crystalised in the Romantic paintings and later on in the impressionists’ art works using distinctive painting techniques. The modernists approved landscape topic in their paintings to apply their unique techniques, whereas the contemporary landscape paintings have adopted abstract and free methods in employing various materials and colours. It is obvious that the landscape subject has been employed throughout all stages of art history because it is the key segment of their environment and life not only because of its aesthetic values. Realistic landscape representation in visual art and design is expected to progress in abundance in the near and far future as many people due to the pandemic circumstances have been deprived from naturally experiencing landscapes causing mental and health difficulties. Keywords: Prehistoric period, ancient civilisations, Renaissance, Baroque, romantic.

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Hadjinicolaou, Yannis. "A raptor’s-eye view in the early modern Netherlands." Netherlands Yearbook for History of Art / Nederlands Kunsthistorisch Jaarboek Online 73, no. 1 (November 7, 2023): 138–63. http://dx.doi.org/10.1163/22145966-07301007.

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Yannis Hadjinicolaou’s contribution focuses on Netherlandish landscape painting in the sixteenth and seventeenth centuries, a time when visual constructions of territory were often accomplished through the lens of falconry as a political tool. Depicting the falcon flying high above the territory transforms the natural landscape into a political one through substituting and extending the ruler’s sovereignty over it. A vertical perspective of power is allowed through the human-fabricated ‘bird’s-eye view’. This territorial aerial ‘view’ offers a political and privileged perspective over a vast, flat, and shapeable landscape through evoking the very etymology of land-schap in Dutch, here embodied by a ‘raptor’s eye’. Notably, an artist has to act like a falcon, sharply monitoring an area, if he or she wants to produce fine landscapes according to art theoretical works of the time. Studying the epistemic imagery of falconry can teach us much about the merging of art and nature together with their respective political implications through visual representations.

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Shik, I. A. "Landscape in Leningrad Porcelain Art of the “Thaw” Period." Secreta Artis 6, no. 1 (September 20, 2023): 49–61. http://dx.doi.org/10.51236/2618-7140-2023-6-1-49-61.

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Landscape became one of the dominant genres of Leningrad porcelain art of the “Thaw” era, reflecting the peculiarities of Soviet culture in the second half of the 1950s – 1960s with its characteristic desire to explore new spaces, changes in the appearance of cities, as well as mass construction. Thus, it is not coincidental that such well-known Leningrad porcelain artists as Vladimir Gorodetsky, Nina Slavina, Antonina Semenova, Larisa Grigoryeva, Tamara Bezpalova-Mikhaleva, Lidia Lebedinskaya among others created landscape compositions. When interpreting landscapes in a “modern style”, they often strived to convey the “overall impression of the depicted” through the use of iconic motifs, allowing the viewer’s imagination to independently complete the image. Landscapes could be of a stylized, graphic nature or, on the contrary, could be characterized by a picturesque freeness. In some cases, landscape came closer to abstraction, symbolically conveying the image of a particular season. Artists often used a tiered type of composition in their interpretation of urban and suburban landscapes, combining the conciseness of a linear drawing and bright, expressive color, or, by contrast, making it almost monochrome. The image of Leningrad was transformed in the porcelain art of the “Thaw” period in accordance with the principles of the “modern style”: strict classical style was combined with modernist generalization and stylization. The theme of new construction was attractive for the artists as well: they depicted graphic images of houses under construction, cranes, and industrial structures. Landscape compositions were distinguished by a harmonious combination of shape and design. Artists often sought to emphasize the features of the form, arranging the composition accordingly while placing special visual accents. Porcelain artists often left most of the surface of objects unpainted, accentuating the beauty and sonorous whiteness of porcelain as a material or using it as an element of an artistic image. At the same time, artists actively applied the technique of colored overglaze, often supplemented by line painting or cleaning, and also experimented with unpredictable effects from the spreading of paints, similar to experiments with colored glazes in “Thaw” ceramics. The coloristic solution of the paintwork was extremely laconic: usually no more than two or three colors were used.

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Cao, Yulu, and Zonghan Li. "Research on Dynamic Simulation Technology of Urban 3D Art Landscape Based on VR-Platform." Mathematical Problems in Engineering 2022 (April 27, 2022): 1–9. http://dx.doi.org/10.1155/2022/3252040.

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With the rise of some concepts such as “Digital Earth” and “digital city,” how to realize the three-dimensional reconstruction and visualization of the urban art landscape is becoming a current research hotspot. This study takes the VR-Platform as the development platform and combines it with 3dsMax technology to study the dynamic simulation technology of urban 3D art landscapes. Additionally, this study combines the dynamic simulation technology of urban three-dimensional artistic landscape, designs the urban three-dimensional artistic landscape dynamic simulation system from the aspects of landscape modeling, texture mapping, drive integration, and so on, and finally realizes the basic functions such as roaming interaction, map navigation, information measurement, and visual display of the urban three-dimensional artistic landscape dynamic simulation system, which has a certain practical application value.

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Mulk, Inga-Maria, and Tim Bayliss-Smith. "Liminality, Rock Art and the Sami Sacred Landscape." Journal of Northern Studies 1, no. 1-2 (September 18, 2007): 95–122. http://dx.doi.org/10.36368/jns.v1i1-2.513.

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The paper suggests that cultural landscapes were permeated by religious meanings in all pre-modern societies, including Sami societies before c. AD 1600. We suggest that knowledge of this sacred landscape was not restricted to an elite or to shamans, but was widely shared. For the Sami, religious rituals and associated images (e.g. rock art) involved all levels within a social hierarchy that linked the individual adult or child, the family, the band or sijdda, and the association of family groups or vuobme. We can decode the sacred landscapes of such societies if we can reconstruct sites of perceived anomaly and liminality in the landscape. This is discussed in the article with reference to Proto-Uralic cosmology in general and the Sami world-view in particular. The concepts of anomaly and liminality enable us to interpret the Badjelánnda rock art site in Laponia, northern Sweden, as not only a place of resource procurement (asbestos, soapstone) but also a sacred site. We suggest that the Badjelánnda site should be seen as a gateway to the Underworld, and therefore visits for quarrying, human burials at the site, or wild reindeer hunting in the vicinity were marked by ritual acts, directed perhaps towards the Sami female deity Máttaráhkká. The rock art should therefore be interpreted as an aspect of religious ritual, and in a context where anomalous topography signified that the Badjelánnda site was necessarily a liminal place.

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Hoffos, David, and Margo Henry. "Art." Public 31, no. 62 (December 1, 2020): 240. http://dx.doi.org/10.1386/public_00053_5.

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The interview with curator and guest editor Wayne Baerwaldt and artist, Zachari Logan pertains to questions about the nature of Logan’s visual art practice in relation to gender, sexuality and intersecting issues of queer embodiment and landscape.

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Zhu, Bing. "The Evolution of Pop Art and Its Application to the Urban Landscape —— The example of the landscape design work of Martha Schwartz." SHS Web of Conferences 192 (2024): 01011. http://dx.doi.org/10.1051/shsconf/202419201011.

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Taking the development of Pop Art to Post Pop Art as a clue, the urban landscape has gradually given city dwellers different sensory experiences and begun to lead people’s lifestyles. Few people have collated the correlation between the evolution of Pop Art and the landscape design works of Martha Schwartz, and there is no systematic study of Pop Art landscape on urban development. Through the analysis of different design techniques in early Pop Art, New Pop Art and Post Pop Art, and the in-depth analysis of Martha Schwartz who is the representative figure of Pop Art landscape, the influence of Pop Art landscape on urban development is excavated. The study summarizes systematic theories and design methods, and provides ideas for future innovation in urban landscape design.

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Cohen, Matt. "Making the View from Lookout Mountain: Sectionalism and National Visual Culture." Prospects 25 (October 2000): 269–80. http://dx.doi.org/10.1017/s0361233300000661.

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Recent scholarship in the history of American art has uncovered the deep social, political, and economic context within which specific inividuals invented highly charged (and frequently contested) visions of the American landscape. Drawing attention away from the naturalizing tendency of criticism that emphasizes landscape painting as a reflection of national and transcendental ideals, this kind of analysis has brought new richness to the study of landscapes, weaving political and social history into the criticism of American art. Charting paintings as they function within the constellations of patronage, intellectual history, and reception, these new histories help us understand the cultural work of landscape in the 19th-century United States.

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Balmori, Diana. "Cranbrook: The Invisible Landscape." Journal of the Society of Architectural Historians 53, no. 1 (March 1, 1994): 30–60. http://dx.doi.org/10.2307/990808.

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As a study of the landscape of the Cranbrook Academy of Art in Bloomfield Hills, Michigan, this essay has three objectives: to make visible a previously unacknowledged landscape, to define its relationship to the image of Cranbrook as a whole, and to begin an exploration of the ways in which a landscape draws us into a bond of affection with it. This study is the first to identify landscape designers at Cranbrook and to explore the importance of their design to the institution that was the most successful and long-lived of Arts and Crafts manifestations in America. It thus gives particular attention to the landscape ideas of the Arts and Crafts movement, as this was the last major aesthetic movement to value the art of landscape. Influenced by the principles of this movement, publisher George C. Booth founded Cranbrook in 1925, envisioning a combination school, studio, and art colony, where artists together could develop an integrated design practice. Under the influence of Arts and Crafts, landscape had a very early, critical role at Cranbrook and was part of the vision for the institution. But the later history of Cranbrook shows the decline of landscape as an art, a loss of scope and vision, especially as the Arts and Crafts aesthetic waned and that of the modern movement emerged. The study gives attention to this decline; the observation of how this happened at Cranbrook provides some clues as to the overall diminution of landscape in the twentieth century, a decline heretofore noted, but not explained. The essay begins with the recollection of a personal experience that is critical to the author's interest in the Cranbrook site and to an understanding of the exploration of our connections to landscape. Visits to the site and the use of the resources of the Cranbrook Archives (the papers of George Booth, designs, plans, photographs, and writings by the Cranbrook landscape practitioners) have made it possible to give visibility to the Cranbrook landscape and to allow an assessment of the landscape's relationship to the larger institution.

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Grusin, R. "Landscape Art and Landscape History: Some Recent Works on North American Landscape Painting." Forest & Conservation History 34, no. 2 (April 1, 1990): 83–84. http://dx.doi.org/10.2307/3983863.

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Liu, Mingxuan. "The Image of a City in Chinese Landscape Painting a Scientific Discourse in Chinese Historiography." Vìsnik Harkìvsʹkoi deržavnoi akademìi dizajnu ì mistectv 2022, no. 1 (January 15, 2022): 117–29. http://dx.doi.org/10.33625/visnik2022.01.117.

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The article analyzes the phenomenon of the urban landscape, which is a notable phenomenon in modern Chinese art history. In this direction, the researchers consider not only the genre originality of the urban landscape, but also artistic models of the representation of the city image in painting. The urban landscape acquires independent forms within the framework of Chinese art through comparative practices of matching and comparison with Western artistic genesis. Already in the early 2000s, Chinese art historians were actively looking for new models for presentation of traditional art. At the same time, their desire to preserve traditional artistic achievements necessitated the identification of innovative and modern forms of Chinese art, which became notable artistic phenomena during the second half of the twentieth century. In Chinese “urban” painting, one of the central themes is the issue of modernization, which develops from two perspectives: a) urbanistic, which is aimed at the artistic generalization of various forms of urban life and landscape; b) in the direction of retro, which expresses a steady interest in the images of “old” China — urban landscapes and pictures of urban life, representing the aesthetics of the disappearance of traditional “small” China towns. For the current stage of development of fine arts in China, the image of the city in the context of regionalism and ethnic specificity is of great importance. The images of the city are directly related to the characteristic models of visual representation of the regions of China. Regions differ both in ways and norms of life (for example, small towns and conglomerate metropolitan areas) and in the variety of landscapes (for example, sea-side, mountain and plain). This factor is the cause of additional difficulties in defining the urban landscape as a genre of art. Certain features are analyzed on the example of the works of such outstanding masters of Chinese fine arts Yan Wanliang and Dai Shihe.

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Akhmedova, Zaripat Abdullaevna. "GENRE OF LANDSCAPE IN THE WORK OF M. M. SHABANOV." Herald of the G. Tsadasa Institute of Language, Literature and Art, no. 26 (June 4, 2021): 94–100. http://dx.doi.org/10.31029/vestiyali26/14.

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The article deals with the genre of landscape in the work of the People's Artist Magomed Magomedovich Sha-banov. The author gives a brief art history analysis of many works of the landscape genre. Comes to the con-clusion that the artist's landscapes changed depending on the era, time of creation.

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Cheng, Yue, Jiayin Chen, Jiahua Li, Lin Li, Guanhua Hou, and Xuan Xiao. "Research on the Preference of Public Art Design in Urban Landscapes: Evidence from an Event-Related Potential Study." Land 12, no. 10 (October 7, 2023): 1883. http://dx.doi.org/10.3390/land12101883.

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As urbanization quickens, the role of public art in urban landscape design gains prominence. Nevertheless, how stylistic characteristics of landscape public art affect aesthetic preferences remains insufficiently discussed, particularly with objective assessment methods. The use of event-related potential (ERP) can offer neurophysiological evidence to support research and practice in landscape art design. We employed a 2 (artistic features) × 2 (professional proficiency) repeated-measures design, involving abstract and figurative experimental stimuli; both experts and non-experts participated, with their aesthetic reactions and relevant electroencephalographic data recorded. Behavioral findings show a preference for figurative public artworks regardless of professional background. From neurophysiological outcomes, stimuli elicit an elevated N100 during early perceptual processing, signifying increased attentional resources. During aesthetic processing, figurative stimuli more effectively evoke positive emotions, particularly among professionals, yielding a heightened P200 response. Conversely, abstract stimuli may evoke a higher N200 amplitude, reflecting augmented negative biases. Nevertheless, non-experts exhibit no marked differences in their stimulus responses during aesthetic processing. Research indicates that low-level physical attributes of public artworks are initially noted, while the visual processing of artistic traits lies at a higher perceptual level, necessitating specialized expertise involvement. Furthermore, the complexity of visual perceptual processing plays a significant role in the assessment of landscape art preferences. This study not only offers crucial reference indices for designing urban landscapes that satisfy diverse public aesthetic needs but also lays the foundation for neural techniques to assess landscape design preferences and expands the field of landscape design research.

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Wilkoszewska, Krystyna. "Landscape and the environment." Polish Journal of Landscape Studies 2, no. 4-5 (July 31, 2019): 5–12. http://dx.doi.org/10.14746/pls.2019.4.5.1.

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The paper analyzes the concept of landscape and its various embodiments in art and nature. On the one hand, one can claim that our understanding of the landscape is constituted by conceptual oppositions like human/non-human, artifactual/natural, culture/nature; on the other, one may notice that landscapes occur in the space “between” these oppositions. Furthering this observation, I lodge an objection to the approach of certain exponents of environmental aesthetics who opt for replacing the notion of landscape by that of environment because I would argue that the former is still informative.

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Panwar, Apeksha, and Archana Rani. "CONTEMPORARY LANDSCAPE IN TRADITIONAL GOND ART." International Journal of Research -GRANTHAALAYAH 9, no. 1 (February 2, 2021): 169–75. http://dx.doi.org/10.29121/granthaalayah.v9.i1.2021.3047.

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English: Indian Folk art mainly depicts social and cultural aspects of trible society. Gond Painting is developed by Gond Community which is a large trible community in India and hence named after the same. “This art is quite famous in central India. Traditionally Gond Art were painted on walls and floors during weddings and on auspicious occasions. With time the art witnessed developments and now it is seen on textile, canvas, clothes, articles and valuable artifacts. Last decade witnessed a boom in the popularity of Gond Art. Jangan Singh Shyam who is called the father of Gond Art is one such artist who introduced Gond art at world platform. The presented research paper highlights the initial and contemporary changes which were introduced by Jangan Singh and his descendants Mayank Shyam (Son) and Japani Shyam (Daughter) and famous gond artist Vanket Raman Singh Shyam in their Gond Paintings under the effects of the surroundings with Time. Hindi: भारतीय लोक कलाएँ मुख्यतः आदिवासी समाज के सामाजिक और सांस्कृतिक स्वरूप को दर्शाती है। गोंड चित्रकला भारत के विशाल जनजातीय गोंड समुदाय द्वारा विकसित की गयी है। अतः इस कला को यह नाम गोंड जनजाति से मिला। यह कला मध्य भारत की एक विख्यात कला है। अपने परम्परागत रूप में गोंड चित्र दीवारों और धरातल पर शादी-विवाह और अन्य शुभ अवसरों पर सृजित किये जाते थे। अब समय के साथ उनके माध्यम में परिवर्तन दिखाई देने लगा और ये कैनवास, पेपर, कपड़े, उपयोगी एवं सजावटी वस्तुओं पर भी बनायी जाने लगी है। पिछले एक दशक में इस कला को अत्यधिक प्रसिद्धि प्राप्त हुई है। गोंड कला के पितामह कहे जाने वाले जनगण सिंह श्याम एक ऐसे पहले कलाकार है जिन्होनेगोंड कला को विश्व स्तर पर परिचित कराया। प्रस्तुत शोध पत्र में गोंड कला के प्रणेता श्री जनगण सिंह श्याम और उनकी कला की संरक्षक पीढी पुत्र मयंक श्याम व पुत्री जापानी श्याम तथा प्रसिद्ध चित्रकार वेंकेटरमन सिंह श्याम के चित्रों में पारम्परिक और समसामयिक परिवेश के अनुरूप आये बदलाव के संदर्भ से प्रस्तुत करने का प्रयास किया है।

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41

Krog, Steven R. "ART AND THE LANDSCAPE: A SYMPOSIUM." Landscape Journal 12, no. 1 (1993): 85–87. http://dx.doi.org/10.3368/lj.12.1.85.

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McGirr, Patricia. "BETWEEN LANDSCAPE ARCHITECTURE AND LAND ART." Landscape Journal 16, no. 1 (1997): 121–22. http://dx.doi.org/10.3368/lj.16.1.121.

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Grezl, Karel, and John Cameron Rodger. "Landscape Reclamation: Science, Art or Business?" International Journal of Science in Society 1, no. 1 (2009): 13–30. http://dx.doi.org/10.18848/1836-6236/cgp/v01i01/51234.

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Tyutyunnik, Yulian G. "ART LANDSCAPE SCIENCE IN GEOGRAPHICAL DESCRIPTION." Географический вестник = Geographical bulletin, no. 3(58) (2021): 6–20. http://dx.doi.org/10.17072/2079-7877-2021-3-6-20.

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The paper deals with the history, current state and prospects of using the descriptive method in geographical science. We identify the goals, classify the methods, analyze the conditions of the application of literary techniques in geographical description; the transformations of these techniques, both occurring today and possible in the future, are also analyzed. The subject of geographical description is characterized, its distinctive features are specified. Based on the ideas of Gilles Deleuze, we offer a classification of the methods of obtaining geographical images using the techniques of fiction (image-picture, image-movement, image-crystal). Specific examples show the philosophical and theoretical potential of geographical description. The paper argues that geographical description, using literary techniques, not only has not outlived its usefulness but also has the prerequisites for further development as one of the methods of geographical science.

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Lally, Róisín. "Digital Art: The New Cultural Landscape." Heidegger Circle Proceedings 51 (2017): 166–78. http://dx.doi.org/10.5840/heideggercircle20175113.

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Seglie, Dario. "Prehistoric art: meta-language and landscape." Annales d'Université "Valahia" Târgovişte. Section d'Archéologie et d'Histoire 12, no. 2 (2010): 109–16. http://dx.doi.org/10.3406/valah.2010.1068.

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Berleant, Arnold. "The Art in Knowing a Landscape." Diogenes 59, no. 1-2 (February 2012): 52–62. http://dx.doi.org/10.1177/0392192112469320.

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Howard, Peter. "Landscape and the art referent system." Landscape Research 17, no. 1 (March 1992): 28–33. http://dx.doi.org/10.1080/01426399208706354.

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Harrison, Charles. "Art & Language Paints a Landscape." Critical Inquiry 21, no. 3 (April 1995): 611–39. http://dx.doi.org/10.1086/448766.

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Hirsch, Eric. "Landscape as Art and as Persons." Roczniki Kulturoznawcze 13, no. 4 (December 31, 2022): 93–98. http://dx.doi.org/10.18290/rkult22134.13.

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The presented statement is part of the volume it covers a variety of responses from people who interact with art in different ways. The aim is to suggest to the participant of the contemporary world a new, personal perspective to rethink what is this area of our world that we label with art; thoughts with and without theoretical suggestions - reflections by the creators and reflections by the audience, teaching humility and uniqueness, perhaps - forming a fresh perspective on art.

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