Journal articles: 'American Landscape painting'

1

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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7

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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11

Friesner, Nicholas Aaron. "Aesthetic Transcendentalism in Emerson, Peirce, and Nineteenth-Century American Landscape Painting." American Journal of Theology & Philosophy 40, no. 2 (2019): 120–23. http://dx.doi.org/10.5406/amerjtheophil.40.2.0120.

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12

Rosenberg, Eric, Rebecca Bedell, Martin A. Berger, Elizabeth Johns, and Alexander Nemerov. "The Anatomy of Nature: Geology and American Landscape Painting, 1825-1875." Art Bulletin 85, no. 3 (2003): 617. http://dx.doi.org/10.2307/3177392.

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13

Simmons, Jake. "Five Letters to Georgia O’Keeffe." Departures in Critical Qualitative Research 10, no. 1 (2021): 146–54. http://dx.doi.org/10.1525/dcqr.2021.10.1.146.

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In her lifetime, US American painter Georgia O’Keeffe (1887–1986) wrote thousands of letters to those closest to her. However, she relied on painting as her primary public voice. This essay takes the form of five letters, composed through posthumanist performative writing,1 addressed to O’Keeffe. I work through the process of experiencing the death of my father in a material landscape as it was painted by O’Keeffe. The southwestern landscapes O’Keeffe painted were the same landscapes in which my father and I negotiated material relations to live a life of what Donna Haraway calls “significant otherness.”2

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14

Kinsey, Joni L., and Albert Boime. "The Magisterial Gaze: Manifest Destiny and American Landscape Painting, c. 1830-1865." Journal of the Early Republic 12, no. 4 (1992): 580. http://dx.doi.org/10.2307/3123895.

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Myers, Kenneth John, and Albert Boime. "The Magisterial Gaze: Manifest Destiny and American Landscape Painting, c. 1830-1865." Journal of American History 79, no. 4 (1993): 1603. http://dx.doi.org/10.2307/2080260.

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Thistlethwaite, Mark, and Albert Boime. "The Magisterial Gaze: Manifest Destiny and American Landscape Painting c. 1830-1865." Western Historical Quarterly 23, no. 4 (1992): 500. http://dx.doi.org/10.2307/970307.

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17

Taylor, Samuel M. "AMERICAN SUBLIME: LANDSCAPE PAINTING IN THE UNITED STATES 1820-1880: Tate Britain." Curator: The Museum Journal 45, no. 2 (2002): 144–48. http://dx.doi.org/10.1111/j.2151-6952.2002.tb01188.x.

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Georgi, Karen L. "Making nature culture's other: Nineteenth-century American landscape painting and critical discourse." Word & Image 19, no. 3 (2003): 198–213. http://dx.doi.org/10.1080/02666286.2003.10406233.

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19

Bosko, Natalia. "Catskills Composition by Thomas Cole." International Journal of Social Sciences and Humanities Invention 5, no. 1 (2018): 4281–92. http://dx.doi.org/10.18535/ijsshi/v5i1.08.

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The popularity of landscape painting in the United States grew during the 1830s due to the interest in exploration of native resources. American wilderness became a symbol of this country counterposed to the tamed nature of the Old World. Transcendentalist writings propagating the concept of divine presence in the creation supported the fashion for scenery.

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20

Merrill, Peter C., and Linda Joy Sperling. "Northern European Links to Nineteenth Century American Landscape Painting: The Study of American Artists in Dusseldorf." German Studies Review 10, no. 2 (1987): 352. http://dx.doi.org/10.2307/1431120.

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21

Doughton, Thomas L. "Text, Image and the Discourse of Disappearing Indians in Antebellum American Landscape Painting." Interfaces, no. 38 (January 1, 2017): 195–222. http://dx.doi.org/10.4000/interfaces.323.

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22

Wolf, Bryan J., William H. Truettner, and Alan Wallach. "Thomas Cole: Landscape into History; Understanding Thomas Cole Today; Thomas Cole and the Rise of American Landscape Painting." Journal of American History 83, no. 3 (1996): 958. http://dx.doi.org/10.2307/2945649.

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23

Capelle, Birgit. "Mountains and Waters of No-Mind." JAAAS: Journal of the Austrian Association for American Studies 2, no. 2 (2022): 117–40. http://dx.doi.org/10.47060/jaaas.v2i2.93.

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This article explores the epic poem Mountains and Rivers Without End (1996) by Gary Snyder and a Song/Chin dynasty Chinese landscape painting. I illustrate how the poem and the painting, together with Henry David Thoreau’s autobiographical narrative A Week on the Concord and Merrimack Rivers (1849) and Jack Kerouac’s The Dharma Bums (1958), form a complex web of intertextual and intermedial references. All four works, I argue, tell similar narratives of spiritual journey and paths through mountain and river landscapes; all four speak of moments of heightened awareness in the sense of Buddhist “no-mind” (Chinese: wu-shin; Japanese: mushin). I show how they converge in exhibiting ontologies of non-substantiality, emptiness, and becoming. Taking the philosophies of Zen Buddhism and Taoism as a theoretical frame, I argue that the American transcendentalist and Beat works poetically and narratively convey relational rather than substantialist views of Being and life. They depict the world as a dynamic and open field of tension between two non-oppositional forces from which we as subjects are not essentially separate in a dualistic way. I substantiate my argument by drawing on the French sinologist and philosopher François Jullien, who refers to the Chinese understanding of landscape (“mountains and waters”) in his critical treatment of (European) philosophy’s centuries-long subject-centered epistemology and substantialist “ontology of Being.”

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Capelle, Birgit. "Mountains and Waters of No-Mind." JAAAS: Journal of the Austrian Association for American Studies 2, no. 2 (2022): 117–40. http://dx.doi.org/10.47060/jaaas.v2i2.93.

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This article explores the epic poem Mountains and Rivers Without End (1996) by Gary Snyder and a Song/Chin dynasty Chinese landscape painting. I illustrate how the poem and the painting, together with Henry David Thoreau’s autobiographical narrative A Week on the Concord and Merrimack Rivers (1849) and Jack Kerouac’s The Dharma Bums (1958), form a complex web of intertextual and intermedial references. All four works, I argue, tell similar narratives of spiritual journey and paths through mountain and river landscapes; all four speak of moments of heightened awareness in the sense of Buddhist “no-mind” (Chinese: wu-shin; Japanese: mushin). I show how they converge in exhibiting ontologies of non-substantiality, emptiness, and becoming. Taking the philosophies of Zen Buddhism and Taoism as a theoretical frame, I argue that the American transcendentalist and Beat works poetically and narratively convey relational rather than substantialist views of Being and life. They depict the world as a dynamic and open field of tension between two non-oppositional forces from which we as subjects are not essentially separate in a dualistic way. I substantiate my argument by drawing on the French sinologist and philosopher François Jullien, who refers to the Chinese understanding of landscape (“mountains and waters”) in his critical treatment of (European) philosophy’s centuries-long subject-centered epistemology and substantialist “ontology of Being.”

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25

SPERLING, JOY. "Worthington Whittredge's Landscape With Haywain and the American National School of Painting." Nineteenth Century Studies 1, no. 1 (1987): 81–89. http://dx.doi.org/10.2307/45195606.

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SPERLING, JOY. "Worthington Whittredge's Landscape With Haywain and the American National School of Painting." Nineteenth Century Studies 1, no. 1 (1987): 81–89. http://dx.doi.org/10.2307/ninecentstud.1.1987.0081.

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27

Allen, Thomas M. "The Anatomy of Nature: Geology and American Landscape Painting, 1825–1875. by Rebecca Bedell." Journal for Early Modern Cultural Studies 2, no. 2 (2002): 121–24. http://dx.doi.org/10.1353/jem.2002.0005.

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Gaete, Miguel A. "The Garden of Eden Revisited." Latin American and Latinx Visual Culture 4, no. 4 (2022): 9–25. http://dx.doi.org/10.1525/lavc.2022.4.4.9.

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This article examines the view of South America as the Garden of Eden through the lens of three German romantic artists: Johann Moritz Rugendas, Otto Grashof and Carl Alexander Simon. I discuss some of their paintings and drawings of the jungles of Brazil and the forests of Chile, along with notes and entries from their travelogues, to determine the extent to which specific elements from the German Weltanschauung, together with a colonialist gaze, drove their depiction of South America. The general argument is that linkages between South America and paradise raised by German artists throughout the nineteenth century would not have meant a glorification of South American nature, as is usually maintained. On the contrary, they should be read as the conjunction of factors such as racial assumptions prompted by new scientific disciplines, a sense of cultural superiority, and an intense obsession with both the past and an idea of purity projected onto distant lands. This, in turn, would have been part of a series of appropriative discourses concerning regions beyond Europe, put into practice by German romantic explorers of the time. In this fashion, this essay proposes a reoriented interpretation of these artists and their work, challenging the prevalent idea that the development of romantic landscape painting in South America was almost entirely determined by European aesthetic trends such as the sublime and the picturesque.

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Wilczyński, Marek. "The Americanization of the Sublime: Washington Allston and Thomas Cole as Theorists of Art." Polish Journal for American Studies, no. 11 (Spring 2017) (August 30, 2023): 19–27. http://dx.doi.org/10.7311/pjas.11/1/2017.02.

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The idea of the sublime, borrowed by the painter Washington Allston from Jousha Reynolds and – through S.T. Coleridge – possibly also from Kant, at the beginning of the nineteenth century in the United States still had mostly European connotations. Both as a theorist of art and a poet, Allston explicitly pledged his cultural allegiance to Great Britain. It was paradoxically Thomas Cole, a British-born immigrant, who was the first to associate a much less strictly defined concept of the sublime with the American landscape of the Catskills, thus initiating the discourse of the US cultural nationalism both in his diary and essays related to painting, and poetry.

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Bi, Jiancheng. "Symbiotic nurture between literature, culture and nature in Gary Snyder’s Meta-Picto-Poetry of landscape." Trans/Form/Ação 46, no. 4 (2023): 163–82. http://dx.doi.org/10.1590/0101-3173.2023.v46n4.p163.

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Abstract: This article holds the opinion that some meta-picto-poetry of landscape, composed by American poet Gary Snyder, takes Chinese landscape painting as its subject matter with the characteristics of ancient Chinese poetry, shimmering with incomparable artistic charm and cultural substance. Poetry of this kind is a perfect combination of eastern and western elements, integrating the cultures, thoughts and arts of both sides. The appreciation of this poetry creates a complex experience with a hybrid of artistic forms and aesthetic spaces. Gary Snyder is not only an eco-poet, but also a stylist and a man of practice. His poetic works reveal the fostering relationship between literature, culture and nature. The article intends to make a cross-cultural, interdisciplinary and multi-field attempt in Snyder’s criticism, with analytical methods inclusive of eastern and western cultures, ancient and present visions as well as dynamic and static experiences.

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Wirth, Jason Martin. "Painting Mountains and Rivers: Gary Snyder, Dōgen, and the Elemental Sutra of the Wild." Research in Phenomenology 44, no. 2 (2014): 240–61. http://dx.doi.org/10.1163/15691640-12341287.

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In this essay I hope to make some new contributions to the philosophical opening occasioned by John Sallis’ articulation of an “elementology” more broadly and by his turn to Guo Xi’s exquisite Song Dynasty shan-shui scroll painting, Early Spring (in his forthcoming work, Senses of Landscape) more particularly. I do so by bringing the remarkable writings by the American poet and thinker Gary Snyder, especially in relationship to his reading of the great Kamakura Zen Master Eihei Dōgen, directly into the fray of contemporary Continental discourses on the elemental and the ecological. At the heart of this project is Snyder’s development of Dōgen’s elemental discourse of “mountains, rivers, and the great earth.” Like Sallis’ own efforts to recast language into a more elemental discourse, this essay will also focus on the manners of speaking specific to the philosophical and poetic self-presentation of the elements, including the relationship between the philosophical and the artistic as such.

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Bailey, Doug. "Disarticulate—Repurpose—Disrupt: Art/Archaeology." Cambridge Archaeological Journal 27, no. 4 (2017): 691–701. http://dx.doi.org/10.1017/s0959774317000713.

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This project sees archaeology and art as a political tool for disrupting conventional, politically loaded narratives of the past. Rather than producing institutionally safe narratives conventionally certified as truth, archaeologists should follow the lead of artists who use the past as a source of materials to be reconfigured in new ways to help people see in new ways. Using as an example the works of the Canadian artist Ken Monkman, who subverts nineteenth- century landscape painting to reinsert the missing critiques of Anglo-American colonialism, dominance of nature, and heteronormativity, this paper advocates disarticulating materials from the past by severing them from their context, repurposing them to bring contemporary concerns to the fore and creating new, disruptive visions from them. The article proposes the practice of an art/archaeology.

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Župan, Ivica. "Majstor mirenja, spajanja i kombiniranja suprotnosti." Ars Adriatica, no. 2 (January 1, 2012): 257. http://dx.doi.org/10.15291/ars.454.

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Igor Rončević has been painting for a very long time with the consciousness that his painterly signature can be constructed from a series of disparate fragments, and so his collage paintings are composed of elements or stylistic details thanks to which his canvas has become a place where ambivalent worlds meet - an ntersection of their paths. Rončević is therefore, a painter of ludic individualism, but, at the same time, painter with wide erudition and above all, a curious pirit, who, in a unique way - in different clusters of itations - applies and joins together experiences from he entire history of art. In his works we have for some ime observed the meetings of some of at first sight rreconcilable contrasts - the experiences of Pop art, European and American abstraction, experiences of gestural and lyrical provenance, different traces and tyles of figuration... All this heterogeneous material has been relativized in his interpretation, often even in blasphemous combinations; in a conspicuously easy and organic way, these combinations merge into a unique whole consisting of forms and meanings which are difficult to decipher. Analysis of Rončević’s paintings reveals the absence of a specific rational system that accumulates the building blocks of a painting - a mental landscape - but not the absence of a peculiar talent for creating compositional balance in a painting.The basic building block in the cycle Dulčić’s fragments is the line - stripes, that is linear, ribbon-like shapes, curved lines which meander on the surface of the canvas, and in the painted area, lines freely applied with a finger in fresh paint. The basic ludic element is colour, and the cartography of the canvas is a road with innumerable directions. The painter, treating the surface of the canvas as a field of total action, creates networks of interlacing multicoloured verticals, lively blue, blue-green and brown hues, coloured without an apparent system or principle, and also of varying width but, despite the seemingly limited starting points of his painting, he creates situations rich in interesting shifts and intriguing pictorial and colouristic happenings. The painter’s main preoccupation is the interaction of ‘neon’ colours (obviously a reference to the twentieth-century’s ‘neon’ enthusiasts), which has been achieved with a simple composition consisting of a knot of interwoven ribbons of intense colours which belong to a different chromatic register in each painting. Streams of complementary or contrasting colours, which spread out across the painted field like the tributaries of a river, subject to confluence, adopting features of the neighbouring colour, sharing the light and darkness of a ‘neon’. Although the impression implies the opposite, the application of colours, their touching and eventual interaction are strictly controlled by the skill of a great colourist. Dulčić’s fragments display Rončević’s fascinating power of unexpected associative perception. The painter now reaches for the excess of colour remaining on his palette from the work on previous paintings. He applies the colour to the canvas with a spatula in a relief impasto, and he revives the dried background with a lazure glaze of a chosen colour. On a saturated but still obviously ‘neon’ grid, the painter - evenly, like a collage detail - applies islands of open colour on the surface of the painting, which he finally paints with a brush, applying vertical white lines over the colour. These shapes of an associative and metaphorical nature are an integral part of the semantic scaffolding of composition but, without particular declarative frameworks and associative attributes, we can never precisely say what they actually represent although they are reminiscent of many things, such as seeds, bacteria, cellular microcosm, unstable primitive forms of life, the macrocosm of the universe, the structures of crystals, technical graphs, calligraphy, secret codes... The linear clarity of the drawing makes motifs concrete and palpable, possessing volume, in fact, possessing bulging physicality. In new paintings, the personal sign of the artist, which arrived in the painting from the activity of the conscious and the unconscious, has been replaced with small shapes, most similar to an oval, which look like separate pieces attached to the surface of the painting and which are reminiscent of specific painterly and artistic tendencies. Their monochrome surfaces are filled with verticals which are particles of the rational or, to put it better, from the constructivist stylistic repertoire, reminiscent, for example, of Daniel Buren’s verticals. Two divergent components - the abstract and the rational - stylistically and typologically separate, but chronologically parallel - pour into an evocative encounter which reveals a nostalgia towards two-dimensional painting. Experiences of posters and graphic design, gestural abstraction, abstract expressionism, lyrical abstraction and everything else that can be observed in this cycle of paintings are a homage to global modern painting, while the islands on the paintings pay tribute to the constructivist section of the twentieth-century avant-garde. The contents of Rončević’s paintings are also reminiscent of the rhythmicality of human figures in Dulčić’s representations of the events on Stradun, town squares, beaches, dances... In addition, to Rončević, as a Mediterranean man - in his formative years - Dulčić was an important painter and, if we persist in searching for formal similarities in their ‘handwritings’, we will find them in the hedonism of painterly matter and the sensuality of colour, luxuriant layers, the saturation of impasto painting, gestural vitality, but mostly in the Mediterranean sensibility, the Mediterranean sonority of colour, their solarity, the southern light and virtuosity of their metiérs. Like Dulčić, Rončević is also re-confirmed as a painter of impulses, of lush, luscious and extremely personalized matter, of layers of pigments, of vehement and moveable gestures, of fluid pictorialism…* * *Let us also say in conclusion that Rončević does not want to state, establish or interpret anything but to incessantly reveal possibilities, their fundamental interchangeability and arbitrariness, and following that, a general insecurity. With the skill of an experienced master painter, he also questions relationships with eclecticism and the aesthetics of kitsch; for example, he explores how far a painter can go into ornamentalization, decorativeness and coquetry without falling into the trap of kitsch but to maintain regularly the classy independence of a multilayered artifact and to question the very stamina of painting. He persistently reveals loyalty to the traditional medium of painting, the virtuosity of his métier and a strong individual stamp, strengthening his own position as a peculiar and outstandingly cultivated painter, but he also exhibits the inventiveness which makes him both different and recognizable in a series of similar painting adventures.

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Busciglio-Ritter, Thomas. "Paris-on-Hudson." Athanor 37 (December 3, 2019): 59–66. http://dx.doi.org/10.33009/fsu_athanor116676.

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In 1969, a curious picture entered the collections of the Metropolitan Museum of Art, in New York City, as part of a major bequest by American banker Robert Lehman (1891-1969). Identified as a Hudson River Scene, the painting, undated and unsigned, depicts an idyllic river landscape, surrounded by green hills, indeed reminiscent of the Hudson River School. Yet the attribution devised by the museum for might appear curious at first glance, as it does not rule out the possibility of a work produced by a little-known French painter named Victor de Grailly. Born in Paris in 1804, Grailly died in the same city in 1887. Mentioned in several museum collections, his pictures constitute a debatable body of work to this day. But if only a few biographical elements have been saved about the artist, the crunch of the debate lies elsewhere.

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Georgi, Karen L. "Defining Landscape Painting in Nineteenth-Century American Critical Discourse. Or, Should Art ‘Deal in Wares the Age Has Need of’?" Oxford Art Journal 29, no. 2 (2006): 227–45. http://dx.doi.org/10.1093/oxartj/kcl003.

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Belanger, Noelle, and Anna Westerstahl Stenport. "The Politics of Color in the Arctic Landscape: Blackness at the Center of Frederic Edwin Church's Aurora Borealis and the Legacy of 19th-Century Limits of Representation." ARTMargins 6, no. 2 (2017): 6–26. http://dx.doi.org/10.1162/artm_a_00174.

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American painter Frederic Edwin Church's monumental oil painting Aurora Borealis (1865) presents a stark contrast to the dominant Western tradition of representing the Arctic as monochrome and static. This article discusses how the impressive palette of Aurora Borealis and its black semi-circle in the center allow for a revisionist understanding of Church's contributions to a rich history of Arctic representation, including in an age of climate change and rapidly melting ice. The article connects Aurora Borealis to emerging lens technologies—especially photography and astronomy, and later the cinema and composite satellite imagery, to argue for circumpolar north as globally connected—then, and now. The article furthermore draws connections to the nineteenth-century trade in pigments, the interconnected routes of slavery, and cultural modes of urban modernity.

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Zuber, Devin Phillip. "Thrilling Vagueness and Pure Abstractions: Swedenborgian Correspondence and Edgar Allan Poe’s Graphicality." Edgar Allan Poe Review 22, no. 1 (2021): 142–66. http://dx.doi.org/10.5325/edgallpoerev.22.1.142.

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Abstract If we are to position Poe’s concept of “graphicality” as hovering at the juncture between the verbal and the visual—a gesture toward painting at the same time that it indicates a literary art of description, or ekphrasis—criticism has tended to overlook the centrality of Emanuel Swedenborg’s so-called “doctrine of correspondences” within American art discourses of the 1830s and ’40s. This essay explores the corresponding Swedenborgian valences behind Poe’s own graphicality, putting his work in context of three critical figures in Poe’s orbit who respectively mediated, to one degree or another, Swedenborgian theories: George Bush, the mesmerist and New York University professor of Hebrew and Oriental languages; Thomas Holley Chivers, the southern poet, and close friend of Poe’s; and finally, Christopher Pearse Cranch, the landscape painter. The essay concludes with a brief close reading of Poe’s iconic tale “The Fall of the House of Usher,” the only published work in Poe which explicitly mentions a book by Swedenborg (his “spiritualist” classic from 1758, Heaven and Hell).

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Weidman, Jeffrey. "LONG ISLAND LANDSCAPE PAINTING, 1820–1920. Ronald G. PisanoTHE CATSKILLS: PAINTERS, WRITERS, AND TOURISTS IN THE MOUNTAINS, 1820–1895. Kenneth MyersFREDERIC EDWIN CHURCH AND THE NATIONAL LANDSCAPE. (New Directions in American Art). Franklin KellyGRAND ILLUSIONS: HISTORY PAINTING IN AMERICA. William H. Gerdts , Mark Thistlethwaite." Art Documentation: Journal of the Art Libraries Society of North America 8, no. 1 (1989): 39–41. http://dx.doi.org/10.1086/adx.8.1.27948022.

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Runte, Alfred. "Rebecca Bedell. The Anatomy of Nature: Geology and American Landscape Painting, 1825–1875. xiv + 186 pp., frontis., illus., bibl., index. Princeton, N.J./Oxford: Princeton University Press, 2001. $45." Isis 93, no. 4 (2002): 744–45. http://dx.doi.org/10.1086/376054.

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Wah Man, Eva Kit. "About Nature: Discourses on the Boundaries of East and West in Curtis Carter’s Concern over Contemporary Chinese Art." AM Journal of Art and Media Studies, no. 22 (September 15, 2020): 43–53. http://dx.doi.org/10.25038/am.v0i22.383.

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American aesthetician Curtis Carter demonstrates genuine concern for the subject of nature in contemporary Chinese art and its representations. He correctly points out that the Chinese tradition of featuring nature in the arts represents an imaginary paradise grounded in an idealized nature. Carter’s concern regarding China’s entry into a state of globalization is the impact of Westernizing globalization on the place of nature in Chinese art. Before discussing his concern, this article provides a review of the meaning of nature in traditional Chinese art and revisits ink painter Shitao’s notion of nature in his most representative painting notes, Hua-pu. Curtis also mentions the Chinese garden, stating that gardens in urban settings are supposed to maintain the presence of nature, and exemplifying them as symbolic presentations of nature. In addressing Carter’s concern, a review of the aesthetic experience of visiting a Chinese garden is provided for background. Carter also suggests examining the practices of contemporary Chinese experimental art versus the practices of traditional art to determine whether nature will retain a significant place in today’s Chinese art practices under the strong influences of globalization. This article examines the contemporary ink landscape scene and suggests that new Chinese art involves the invention of new paradigms in art creation, the resources of which are now available globally, and that representations of nature and reality are transforming. Article received: April 30, 2020; Article accepted: June 25, 2020; Published online: September 15, 2020; Review article

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Whitmire, Ethelene. "Landscapes of the African American Diaspora in Denmark." Nordisk Tidsskrift for Informationsvidenskab og Kulturformidling 8, no. 2 (2020): 84–91. http://dx.doi.org/10.7146/ntik.v7i2.118483.

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This imaginary exhibition is based on the archive of items collected to write the book manuscript for Searching for Utopia: African Americans in 20th Century Denmark. Professor Ethelene Whitmire used the method of curatorial dreaming to design this exhibition and was influenced by African American expatriate Walter Williams’s landscape paintings that reflect the themes in the book.

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Schmidt, Benjamin. "'O fortunate land!' : Karel van Mander, 'A West Indies Landscape', and the Dutch discovery of America." New West Indian Guide / Nieuwe West-Indische Gids 69, no. 1-2 (1995): 5–44. http://dx.doi.org/10.1163/13822373-90002643.

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Looks at the presence of America in early Dutch visual paintings and prints, and the significant role in interpreting Americana played by Karel van Mander. Van Mander was a 16th-c. art historian, painter, poet, and translator. Van Mander's notes reveal a number of developments in Dutch perceptions of the New World and how pervasive incidental Americana had become by the late 16th c.

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Ross, Barbara T. "Nineteenth-Century American Landscape Paintings: Nine Recent Acquisitions." Record of the Art Museum, Princeton University 44, no. 1 (1985): 4. http://dx.doi.org/10.2307/3774656.

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Sheleshneva-Solodovnikova, N. A. "The Painting of Fernando Botero: Universality and National Identity." Cuadernos Iberoamericanos 11, no. 2 (2023): 75–93. http://dx.doi.org/10.46272/2409-3416-2023-11-2-75-93.

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The outstanding contemporary artist Fernando Botero Angulo (b. 1932) is one of the leading artists of the postmodern era, thanks to the paraphrasing and irony of his works. He is also known as a graphic artist and a sculptor. Botero’s graphic and pictorial works are kept in many museums around the world, including the Russian ones — the State Hermitage Museum in St. Petersburg and the Pushkin State Museum of Fine Arts in Moscow; his sculptures adorn the cities of Europe, America, Asia. This article focuses on the artist’s painting: it gives an idea of him as a master who reflected universality and at the same time national identity of his country through landscape, still life, bullfighting, dancing. Several parts of the article are devoted to: «Biography and “circular form”», «Secular and religious images», «Landscape, interior, still life», «Bullfighting, music, dancing». A significant place is given to the «circular form», since it made the artist a unique creator, who used it in many great works of art, and then created images recognizable by everyone who has ever seen Botero’s paintings. There are various genres of the master’s works, in which he acts not only as a creator of a unique form, but also as a brilliant colorist. Botero managed to raise Latin America to a high pedestal; starting from the pan-European tradition, he showed the universal through his native Colombia.

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Weichbrodt, Elissa Yukiko. "Found or Recovered?" Religion and the Arts 22, no. 1-2 (2018): 114–34. http://dx.doi.org/10.1163/15685292-02201006.

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Abstract In the 1880s, American artists Charles Furneaux, Joseph D. Strong, and Jules Tavernier—who later became known as the “Volcano School”—traveled to the Kingdom of Hawai‘i and produced dozens of landscapes ranging from otherworldly scenes of volcanoes to vistas of untouched, pristine beaches. While white, upper-class landowners in Hawai‘i served as the primary patrons of such paintings, the reigning monarch, King David Kalākaua, also commissioned his own sweeping landscapes from the same artists. This article focuses on the two competing narratives of paradise at work in both these paintings and writings about the Hawaiian Islands in the 1880s. “Paradise” could invoke a Romantic position, one that celebrated the landscape’s wildness and equated nature in its pure state with the lost Garden of Eden. On the other hand, Kalākaua’s commissions reflect what environmental historian Carolyn Merchant calls the Recovery Narrative: a story of humans reversing the effects of the biblical Fall by subjugating desolate and distant wilds and transforming them into fruitful lands. This article argues that Kalākaua’s presentation of “paradise” was part of a multi-pronged but ultimately failed strategy to resist American imperialism and present the Kingdom of Hawai‘i to the West as a prosperous, profitable nation.

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Lampugnani, Vittorio Magnago. "Die Konstruktion von Natur – Central Park neu besichtigt | The Construction of Nature – Central Park Revisited." Schweizerische Zeitschrift fur Forstwesen 156, no. 8 (2005): 288–96. http://dx.doi.org/10.3188/szf.2005.0288.

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In the first half of the 19th century scientific philosophers in the United States, such as Emerson and Thoreau, began to pursue the relationship between man and nature. Painters from the Hudson River School discovered the rural spaces to the north of New York and began to celebrate the American landscape in their paintings. In many places at this time garden societies were founded, which generated widespread support for the creation of park enclosures While the first such were cemeteries with the character of parks, housing developments on the peripheries of towns were later set in generous park landscapes. However, the centres of the growing American cities also need green spaces and the so-called «park movement»reached a first high point with New York's Central Park. It was not only an experimental field for modern urban elements, but even today is a force of social cohesion.

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Healey, Kathleen. "“‘The Mighty Meaning of the Scene’” Feminine Landscapes and the Future of America in Margaret Fuller’s Summer on the Lakes, in 1843." Humanities 8, no. 1 (2019): 31. http://dx.doi.org/10.3390/h8010031.

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Like many of her contemporaries, Margaret Fuller had great hopes for the West. The Western lands, open for America’s future, held the promise of what America could become. In Summer on the Lakes, Fuller sketches what she hopes America will become. Using the landscape aesthetics of her age, such as the work of Andrew Jackson Downing and the Hudson River School of landscape painting, Fuller describes the ideal landscape as one that is more feminine and nurturing, one in which humankind lives in harmony with nature. Fuller’s landscape descriptions both point to a better future for America and critique the values of her contemporaries. Fuller contrasts America’s more male vision of conquest of the land with her feminine ideal of harmony with nature—a cultivated garden—to show what America’s future should be, as it builds westward.

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Brownlee, Peter John. "Landscape Painting in the Americas: Charles Sheeler and Tarsila do Amaral." American Art 31, no. 2 (2017): 54–56. http://dx.doi.org/10.1086/694063.

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Frazier, Nancy. "Mute Gospel: The Salt Marshes of Martin Johnson Heade." Prospects 23 (October 1998): 193–207. http://dx.doi.org/10.1017/s0361233300006323.

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Salt marshes are built by tidal action and sedimentation in estuaries where river and sea flow together, and they are thus among the most ordinary landscapes in the world. With wide, flat horizons unmodulated by hills or trees and undecorated by wildflowers, they are anything but spectacular. Moreover, the marsh's spring and summer miasma was long believed to be a source of disease. Salt marshes were rarely frequented by American artists of the last century; artists were more inclined to brush sermons about Manifest Destiny and the Transcendental spirit into their grandiose landscape paintings of the mountains, waterfalls, and rivers of the Northeast, the Rockies, or the imposing Great Plains. Yet, during the last forty years of his life, Martin Johnson Heade (1819–1904) obsessively, ritualistically painted views of salt marshes along the eastern seaboard. He was unique among painters in his devotion to this theme. Though he, too, painted the landscape as cultural oratory, his message differed from the celebratory recitals of his peers, and he did not attract their audience.

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Barrick, Kenneth. "Preserving the Photographic Negatives of Harrison R. Crandall, Official Photographer of the Grand Teton National Park." UW National Parks Service Research Station Annual Reports 34 (January 1, 2011): 15–21. http://dx.doi.org/10.13001/uwnpsrc.2011.3847.

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A long time ago, in 1922 to be exact, a man and his young bride packed all their possessions into a Model T Ford truck, and navigated the primitive road eastward across Teton Pass. Harrison and Hildegard Crandall were undertaking an adventure to live out their American dream. They intended to raise a family in Jackson Hole, and interpret their âideal landscapeââthe Teton countryâin oil paintings and photographs. Like so many energetic Americans before them, the Crandall family had the fortitude and perseverance to make their dreams come true. There were many tough years of dry homesteading in Jackson Hole, building and running an art business during the Great Depression, and weathering the controversies of frontier life during turbulent times. Nonetheless, the Crandall family successfully operated their art studio for 34 years near Jenny Lake in the Grand Teton National Park. They also operated a studio in the shadow of Jackson Lake Dam at the old village of Moran. Today, we can celebrate the Crandall family legacy by studying Harrisonâs many fine paintings and photographs that are found in collections and homes far and wide.

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Journal articles on the topic 'American Landscape painting'

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