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Relevant bibliographies by topics / American Landscape painting

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Academic literature on the topic 'American Landscape painting'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2024

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Journal articles on the topic "American Landscape painting"

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Tatham, David, Franklin Kelly, Gerald L. Carr, et al. "American Landscape Painting." Art Journal 50, no. 1 (1991): 102. http://dx.doi.org/10.2307/777098.

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Gonnen, Noam. "Grounding the Landscape: Epistemic Aspects of Materiality in Late-Nineteenth-Century American Open-Air Painting." Arts 12, no. 1 (2023): 36. http://dx.doi.org/10.3390/arts12010036.

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This article examines how notions of “material” and “materiality” were infused, both technically and discursively, into American landscape painting in the late nineteenth century. Focusing particularly on the praxis of open-air painting as consolidating a new mode in landscape painting as well as a new artistic identity, this article argues that painting outdoors was perceived by artists in terms of agency, uniting painter, painting, and landscape; but unlike earlier romantic or Transcendentalist approaches, this idea was not conceived of as a solely spiritual union but, rather, as a mode that is embedded in the mundane, in the existence of objects, of embodied engagement and material means. The overt affinity between the basic idea of the praxis—painting outdoors in ‘real’ nature—and material aspects of art-making, is discussed as the underpinning of a new emerging episteme of American landscape painting, while considering the environment wherein this phenomenon was cultivated within a specific moment in American culture. Paintings and texts, generated by American painters and critics between the late 1870s and the 1890s, are read in this article through the lens of recent theoretical phenomenological approaches to landscape, illuminating the unique role that materiality played in these representations. Moreover, tying the findings to the changing conceptions of both landscape and art in the Gilded Age, the article concludes that landscape painters of the ‘new generation’ sought to evade commodifying tendencies of image-making by deliberately engaging with materiality, devising a mode of landscape representation that would not succumb to the flattening steamroller of capitalist consumer culture.

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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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Garavito, Carla Hernández, and Gabriela Oré Menéndez. "Negotiated Cartographies in the Relaciones Geográficas de Indias: The Descripción de la provincia de Yauyos Toda (1586)." Ethnohistory 70, no. 3 (2023): 351–84. http://dx.doi.org/10.1215/00141801-10443465.

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Abstract In the sixteenth century, the Spanish Crown moved to compile a comprehensive knowledge of its European and American landholdings to materialize the idea of a unified and civilized empire. Peninsular officials sent questionnaires to the Americas, including a request for “paintings” of the urban and natural landscape, without much detail on the project’s guidelines. The varied responses sent back to Spain are known as the Relaciones Geográficas de Indias. This essay investigates the cultural negotiations and potential for Indigenous representations of “depth of place” embedded in one such painting from the Peruvian highland region of Yauyos and Huarochirí. By analyzing colonial-period sources and using spatial modeling, this research underscores the different portrayals of space coexisting on the map. By comparing the painting with contemporary colonial sources, this article examines ongoing negotiations of natural and urban landscapes and an emerging view that synthesized different readings of the same landscape in a period of colonial dislocation and reinvention.

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Johnson, Sarah. "Battle ground: Environmental determinism and the politics of painting the Iraqi landscape." Journal of Contemporary Iraq & the Arab World 15, no. 1-2 (2021): 41–65. http://dx.doi.org/10.1386/jciaw_00039_1.

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Beginning in the late 1940s, Iraqi artists began writing critiques of the Euro-American art movement impressionism, claiming that the way the movement framed the environment was not suited to the Iraqi landscape. Embedded in this argument was the notion that Iraqis could not paint European-style landscapes because of the fact that their environment was different from that of Europe. At the same time, paintings of the Iraqi landscape by European artists in the early twentieth century reinforced the idea that the Iraqi landscape was other than the European one because of its bright sun and empty desert, concepts familiar from nineteenth-century Orientalist discourse. This article will trace the way European painters’ representations of Iraq as other ultimately contributed to Iraqi painters seeking out a distinctive form of European landscape painting in the 1940s.

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Gerdts, William H. "American Landscape Painting: Critical Judgments, 1730-1845." American Art Journal 17, no. 1 (1985): 28. http://dx.doi.org/10.2307/1594412.

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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 (1990): 83–84. http://dx.doi.org/10.2307/3983863.

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Both, Mária Gabriella. "Mozaikok a tájfestészet és a geográfia kapcsolatából." Kaleidoscope history 11, no. 22 (2021): 379–88. http://dx.doi.org/10.17107/kh.2021.22.379-388.

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At the turn of the 18th and 19th centuries, natural sciences supported and drove economic development in a previously not experienced way. Europe created a new “mental image” of nature, scientific ideas with a newly emerging confidence while combining theoretical and practical researches. The Age of Enlightenment is best characterized by A. Humboldt’s discovery travels. The utilitarian approach of the age radically changed the relationship between landscape and people, first in the English speaking countries. This study endeavours to present the interrelations of men and landscape through the changes in landscape painting at the beginning of the 19th century while emphasizing the earlier definition of the geographic environment and indicating geography as an heir of the landscape painting. John Constable broke with the tradition of academic painting and found the idyllic landscape in rural England. In the New World, landscape painting used the European traditions, exemplified by the works of Thomas Cole, the first major American landscape painter. His iconic painting ’Oxbow’ followed the patterns of the traditional European landscape imaging, indicating ideas of the Sublime and the Beautiful of Poussin’ works.

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Tamponi, Guido Karl. "Nicholas L. Guardiano: Aesthetic Transcendentalism in Emerson, Peirce, and Nineteenth-Century American Landscape Painting." Zeitschrift für philosophische Literatur 7, no. 1 (2019): 101–9. http://dx.doi.org/10.21827/zfphl.7.1.35445.

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Chung, Moojeong. "The Pre-Raphaelites, American Landscape Painting and John Ruskin’s Aesthetics." Journal of Korean Association of Art History Education 30 (August 31, 2015): 39. http://dx.doi.org/10.14769/jkaahe.2015.08.30.39.

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Dissertations / Theses on the topic "American Landscape painting"

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Marley, Anna O'Day. "Rooms with a view landscape representation in the early national and late colonial domestic interior /." Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file, p, 2009. http://proquest.umi.com/pqdweb?did=1836637881&sid=7&Fmt=2&clientId=8331&RQT=309&VName=PQD.

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Guardiano, Nicholas. "Transcendentalist Aesthetics in Emerson, Peirce, and Nineteenth-Century American Landscape Painting." OpenSIUC, 2014. https://opensiuc.lib.siu.edu/dissertations/914.

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My thesis is that there is an aesthetic dimension of nature that is metaphysically significant, qualitatively pluralistic, and artistically creative, and that this accounts for the sensuous complexity of experience, as well as the possibility of discovering new qualitative features about the world and expressing them in novel forms, as exemplified in art. I call the philosophy that endorses the reality of this dimension Transcendentalist Aesthetics. The term "Transcendentalist" recalls the philosophy of New England Transcendentalism with its core in Ralph Waldo Emerson, and which influenced the philosophical writings of Charles S. Peirce and the art of the nineteenth-century American landscape painters of the Hudson River School and Luminism. The primary overall goal is to present and argue for a Transcendentalist Aesthetics by making use of the philosophy of Emerson and Peirce, together with the writings and landscapes of the painters. More specifically, Emerson's claims about nature and art and the painters' representations of nature provide various poetic observations of nature that provide an empirical starting point concerning the rich aesthetic complexity of the world. This complexity finds a theoretical ground in Peirce's metaphysical cosmology, which presents a rationally coherent account of the greater structures and processes of the universe while possessing important aesthetic consequences for lived experience and art. The landscape paintings also have a role in that they are expressive of the Transcendentalist philosophy itself, serve as case studies for theoretical interpretation, and are concrete evidence that new qualitative features about the world may be discovered and realized in novel artistic ways.

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Hole, Heather. ""America as Landscape" Marsden Hartley and New Mexico, 1918-1924 /." View this thesis online, 2005. http://libraries.maine.edu/gateway/oroauth.asp?file=orono/etheses/37803141.pdf.

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Thesis (Ph.D.)--Princeton University, 2005.<br>Title from PDF title page. Available through UMI ProQuest Digital Dissertations. Includes bibliographical references (leaves 282-286). Also issued in print.

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Crouch, Rachael M. "Rhetoric and Redress: Edward Hopper's Adaptation of the American Sublime." Ohio : Ohio University, 2007. http://www.ohiolink.edu/etd/view.cgi?ohiou1186602058.

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Cao, Maggie M. "Episodes at the End of Landscape: Hudson River School to American Modernism." Thesis, Harvard University, 2014. http://dissertations.umi.com/gsas.harvard:11535.

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This dissertation examines the dissolution of landscape painting as a major cultural project in the late nineteenth-century United States. As a genre aligned with the goals of nation building, landscape maintained a privileged artistic status for much of the nineteenth century. Yet as frontier development, land speculation, environmental change, and other factors slowly rendered its conventions meaningless, landscape became the site through which American artists most urgently sought to come to terms with the modern world. This argument is anchored by unorthodox artworks, from landscapes resembling banknotes to paintings made out of bird feathers—limit cases that allude to the failure of landscape in sustaining American cultural goals. Chapter One concerns Albert Bierstadt's aesthetic struggles in post-frontier America. During the 1890s, Bierstadt's anxieties about landscape surfaced in the particularities of objects that fold and unfold, from butterflies painted by chance to expanding railway cars—objects that might be considered the subconscious of a genre built upon expansionist ideology. Chapter Two argues that Martin Johnson Heade's tropical and marsh paintings of the 1870s and 1880s used “groundless” conditions to express cultural insecurities about traversable land and its representation. The pictorial blockages and interferences in Heade's paintings challenge both the compositional legibility espoused in the blockbuster canvases of his mentor and rival Frederic Church and the physical accessibility promised by the period's environmental interventions. Chapter Three proposes that Ralph Blakelock's nocturnes and money paintings—produced in the context of rampant land speculation, volatile art markets, and representational doubts surrounding paper currency—attempt but fail to overcome landscape's monetary entanglements. Blakelock's paintings theorize the value of labor and material accumulation in the increasingly abstract economic world of the last decades of the nineteenth century. Chapter Four reconsiders the trope of the "figure in the landscape" using Abbott Thayer's turn-of-the-century representations of animal camouflage. In these mixed-media artworks, Thayer's attempts to visualize invisibility demonstrate the ways in which camouflage proved irreconcilable with landscape's figure-ground principles. Together, these episodes trace pictorial attempts to resolve spatial problems arising with modernity, and in so doing, they signal a shift toward new paradigms of representation.<br>History of Art and Architecture

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Hacker, Jonathan Joseph. "The Visual Creation of the State Apparatus, Nineteenth Century American Landscape Paintings." Kent State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=kent1556557056790917.

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Robinson, Stuart T. "Essences of Charleston: The Tropical Landscape Paintings of Louis Remy Mignot, 1857-1859." University of Cincinnati / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1283366290.

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Donno, Julian. "American Progress - A Foucauldian Discourse Analysis." Thesis, Malmö högskola, Fakulteten för kultur och samhälle (KS), 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-21695.

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19th century America is shaped greatly by territorial expansion into NativeAmerican lands. A famous painting which represents this process is called AmericanProgress by John Gast. This study argues that the display of power between the settlersand the Native Americans in the painting mirrors the dominant discourse on 19th centurywestward expansion. So, the analysis is concerned with how the settlers are constructed,how the Natives are displayed and how this results in a power hierarchy. These findingsare then compared to 19th century discourse on the westward movement. The analysis isguided by the methodological tool of Foucauldian discourse analysis. The analytical stepsare informed by the two American Studies scholars Angela Miller and Martin Christadler.The research is based on pragmatism with a leaning towards constructivism. This studyfinds that American Progress contrasts civilisation and nature in similar ways as thisdichotomy is established in the discourse of the 19th century. Westward expansion in thepainting and in 19th century discourse is justified by constructing the Natives as godlessand the settlers as godly. The difference in brightness in American Progress supports thedichotomies of civilisation and nature as well as godliness and godlessness.

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Malo, Juan Xavier. "Spatialité moderne et pentes andines : le rôle du paysage dans l'architecture contemporaine à Quito." Thèse, 2018. http://hdl.handle.net/1866/21677.

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Books on the topic "American Landscape painting"

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Society, New York Graphic, ed. Long Island landscape painting. Little, Brown, 1985.

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Czestochowski, Joseph S. The American landscape tradition: A study and gallery of paintings. International Arts and the Torch Press, 2009.

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Czestochowski, Joseph S. The American landscape tradition: A study and gallery of paintings. International Arts and the Torch Press, 2009.

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Katz, Alex. Alex Katz: American landscape. Oktagon, 1995.

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Society, Chatham Historical, ed. Picturing Chatham: American landscape painting, 1880-1977. Chatham Historical Society, 2001.

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Mosher, Donald Allen. The seasons of New England: Landscape paintings of Donald Allen Mosher. Commonwealth Editions, 2003.

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Novak, Barbara. Nature and culture: American landscape and painting, 1825-1875. Oxford University Press, 1995.

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Essenhigh, Inka. American landscapes, recent paintings. Albright-Knox Art Gallery, 1999.

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Pederson-Krag, Gillian. Gillian Pederson-Krag: Paintings and etchings 1970-2011 : reflections on painting. Distributed by Larson Publications, 2012.

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Salerno, Louis M., Brent L. Salerno, and Chloe Heins. Important American paintings: Essential. Questroyal Fine Art, 2015.

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Book chapters on the topic "American Landscape painting"

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"CHAPTER 4 Landscape Painting." In The American Landscape. Edinburgh University Press, 2016. http://dx.doi.org/10.1515/9780585102795-005.

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"The American Pre-Raphaelite Landscape and Thomas Charles Farrer." In Painting Dissent. Princeton University Press, 2022. http://dx.doi.org/10.2307/j.ctv2hvfj11.5.

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"CHAPTER TWO The American Pre-Raphaelite Landscape and Thomas Charles Farrer." In Painting Dissent. Princeton University Press, 2022. http://dx.doi.org/10.1515/9780691239323-003.

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Wilton, Andrew. "American landscape painting and the European paradigm." In English Accents. Routledge, 2018. http://dx.doi.org/10.4324/9781351159043-9.

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Novak, Barbara. "Grand Opera and the Still Small Voice." In Nature and Culture. Oxford University PressNew York, NY, 2007. http://dx.doi.org/10.1093/oso/9780195305876.003.0002.

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Abstract In the mid-nineteenth century the American preoccupation with nature manifested itself in several distinct types of landscape painting. Two of these may now be seen as polarities, though it can also be claimed they shared similar goals. The large-scale, popular landscapes by such artists as Church, Bierstadt, and Moran seemed to satisfy the myth of a bigger, newer America. But a more modest kind of expression, practiced by some of the same artists, and by others who dealt more exclusively with this idiom, may have indicated some of the nineteenth century’s profoundest feelings about nature. The recognition of this polarity now seems a central issue in understanding nineteenth-century American painting. Both modes continued the late-eighteenth-century notion of America as the “Virgin Land,” a world unsullied by civilization. In expressing this idea, the larger, more operatic paintings tended to impose older European conventions. The smaller paintings seem to have formulated their own conventions by a more original transformation of European models—tempered perhaps by paradigms of order established by the industrialism rapidly eradicating the primordial wilderness.

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Novak, Barbara. "William Harnett: Every Object Rightly Seen." In American Painting of the Nineteenth Century. Oxford University PressNew York, NY, 2007. http://dx.doi.org/10.1093/oso/9780195309423.003.0013.

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Abstract The respect for the fact, whether object or place, that characterizes so much American art might easily be mistaken for the famous—or infamous— American materialism. But Emerson, like the medieval thinkers, saw the fact as the “end or last issue of spirit,” and one may speculate, therefore, on the reasons why conceptual realism in America should resemble the late Gothic painting of Jan van Eyck. Originating with Copley, this conceptual mode was inherited by the luminist landscape painters and by a still-life tradition extending almost without interruption or change from Raphaelle Peale (1774–1825) at the beginning of the century to William Michael Harnett (1848–92) at the end. Much American art of the late eighteenth century and of the nineteenth century can in fact be seen as still life, whether a portrait by Copley or a landscape by Lane.

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Novak, Barbara. "Thomas Cole: The Dilemma Of The Real And The Ideal." In American Painting of the Nineteenth Century. Oxford University PressNew York, NY, 2007. http://dx.doi.org/10.1093/oso/9780195309423.003.0003.

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Abstract If, for Allston, the color of “Titian, Tintoret and Paul Veronese . . . took away all sense of subject,” this was not possible for Thomas Cole (1801–48), who maintained that “the language of art should have the subserviency of a vehicle. It is not art itself. Chiaroscuro, colour, form, should always be subservient to the subject, and never be raised to the dignity of an end.” With Cole, even more than Allston, idea and story took precedence over form, and one might say that more than Allston, Cole, a generation later, took Sir Joshua’s dicta to heart. Cole was capable finally of transferring the heroic aims of the history painters to the landscape category, where at last they could take firm root in American soil. Thus, in the largest sense, he was a transitional figure. This early nineteenth-century emphasis on Nature and landscape was hardly unique to America, having found expression abroad in Rousseau’s concepts of natural primitivism, Schelling’s Naturphilosophie, and Words-worth’s “God in Nature,” as well as in Emerson’s Nature. But with the new respect for “unspoiled nature” on both sides of the Atlantic, an American landscape school was not long in developing. Nationalist pride was considerably bolstered by the realization that America more clearly fitted Rousseau’s concept of a primeval paradise than any of the European countries with which, it was uneasily believed, America could not yet compete artistically. If we had no cultural traditions, we had at least our ancient trees.

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"Chapter 11. Landscape Painting after 1880: Tonalism." In American Watercolor in the Age of Homer and Sargent. Philadelphia Museum of Art, 2017. http://dx.doi.org/10.37862/aaeportal.00253.012.

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Novak, Barbara. "William Sidney Mount Monumental Genre." In American Painting of the Nineteenth Century. Oxford University PressNew York, NY, 2007. http://dx.doi.org/10.1093/oso/9780195309423.003.0008.

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Abstract As Tuckerman’s comment indicates, William Sidney Mount (1807–68) was appreciated in his own time as a local genre artist of considerable merit, who satisfied further the need for “truly American” scenes that characterized the concurrent taste in landscape painting.

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Novak, Barbara. "Asher B. Durand: Hudson River School Solutions." In American Painting of the Nineteenth Century. Oxford University PressNew York, NY, 2007. http://dx.doi.org/10.1093/oso/9780195309423.003.0004.

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Abstract In the hands of Thomas Cole’s successors, the development of an official Hudson River style seems to have been the natural result of the general public pressure for fulfillment of the hybrid aesthetic of the real-ideal. Some critics, such as Jarves, would have preferred the idealism of Cole: . . . in all his work we find the artist actuated rather by a lofty conception of the value of art as a teacher than by an ambition to excel in mere imitation. With him American landscape art began its career with high motives. Progress in this direction requires no ordinary degree of thought and imagination. It is, perhaps, on this account that he is not popularly estimated at his right value, and has left no followers to carry forward the beautiful significance and lofty suggestion with which he aimed to endow landscape art.

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