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Relevant bibliographies by topics / Anhui school of landscape painting

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Academic literature on the topic 'Anhui school of landscape painting'

Author: Grafiati

Published: 4 June 2021

Last updated: 4 March 2023

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Journal articles on the topic "Anhui school of landscape painting"

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GUO JIN YU. "About the Chinese «School of Southern Landscape Painting»." Декоративное искусство и предметно-пространственная среда. Вестник МГХПА, no. 2-1 (2022): 376–83. http://dx.doi.org/10.37485/1997-4663_2022_2_1_376_383.

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Beebe, Ann. "“Only Surpassed by the Light of Revelation”." Religion and the Arts 22, no. 1-2 (2018): 79–94. http://dx.doi.org/10.1163/15685292-02201004.

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Abstract Asher B. Durand (1796–1886) began his long career in the Hudson River School under the guidance of his mentor, Thomas Cole (1801–1848). Influenced by the death of Cole in 1848 and other factors, Durand turned to the William Cullen Bryant poem, “Thanatopsis.” Durand’s Landscape—Scene from ‘Thanatopsis,’ an expansive allegory with a farmer and a funeral in the foreground illuminated by a sunrise, offers reassurance with its vision of nature’s paradisiacal beauty. The Christianized sublimity of this allegorical Durand painting reveals a hopeful vision for a heavenly paradise. This essay explores the significance of Durand’s 1850 painting in conjunction with Bryant’s “Thanatopsis,” a study Durand composed, Classical Landscape (Imaginary Landscape c. 1850), his 1855 Letters on Landscape Painting, as well as Durand’s 1862 repainting of the canvas.

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Tsyaomin, Mi. "Main Intersections in the Approaches of Russian and Chinese Artists to Chinese Landscapes Painting." Культура и искусство, no. 4 (April 2022): 33–46. http://dx.doi.org/10.7256/2454-0625.2022.4.37855.

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The article is devoted to the study of Chinese landscapes painting by Chinese and Russian artists. Comparative analysis of landscape painting by Chinese and Russian artists dedicated to China allows to identify the most important trends and patterns in the methods of landscapes painting in Russia and China of the late XX в - early XXI century. The purpose of this study is to determine the main intersections in the approaches of artists of the two countries. The specificity of the artistic and expressive language of Chinese and Russian landscape artists in the embodiment of landscapes of China is determined primarily by the influence of the modern national school of painting, as well as the desire to develop and update existing traditions, finding inspiration in foreign experience, coming into contact with foreign culture and artistic tradition. The main conclusions of the study are that landscape painting by artists of Russia and China reveals similarities in formal terms: artists of both countries use techniques of both, realistic school and impressionism. Scientific novelty is determined by the fact that the mechanism of integration of the principles of realism and Western impressionism by Chinese painters is revealed. The author introduces an extensive body of artistic materials of Russian and Chinese painters into Russian science, notes that there are significant differences between the artists of the two countries.

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Fitski, Menno, and Lucien Van Valen. "A Hishikawa School Screen Uncovered." Rijksmuseum Bulletin 67, no. 3 (2019): 216–33. http://dx.doi.org/10.52476/trb.9733.

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The restoration of a Japanese eight-fold screen, accompanied by art-historical study and research into materials and techniques has greatly enhanced the understanding of the object. Each side bears a painting and it was found that theoldest painting depicts the world of entertainment in Edo in the late seventeenth century, with a portrayal of the Nakamura theatre, holding a performance of the early kabuki play Coming and Going to Takayasu, featuring the then popular actor of women’s roles Tamagawa Sennojō. The source of this scene is an illustration from a 1678 book by Hishikawa Moronobu, Tales of Actors Past and Present. Also, there is an outing to view the cherry blossoms by the Yoshiwara brothel Myōgaya. The other side was fitted in the mid nineteenth century with a specially commissioned painting of an autumn landscape by the painter Itabashi Tsurao, using high-quality pigments. The provenance of the screen has been traced back to 1924, to the dealer Felix Tikotin. It was acquired by Herman Karel Westendorp, the firstchairman of the Royal Asian Art Society in the Netherlands, the present owner, to whom Westendorp sold it in 1931.

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Lomaeva, D. M. "ON THE INFLUENCE OF THE BARBIZON SCHOOL OF PAINTING ON THE WORK OF I.S. TURGENEV." Bulletin of Udmurt University. Series History and Philology 32, no. 3 (2022): 574–79. http://dx.doi.org/10.35634/2412-9534-2022-32-3-574-579.

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The article considers the influence of the Barbizon school of painting on the work of I. S. Turgenev in the 1870s. The subject of the research attention was the late stories: «Stuchit!» ("Knocking!") , «Zhivye moshchi» ("Living Relics"), «Son» ("Dream"). The writing of these stories coincided in time with the collection of pictorial paintings. During this period, the writer got acquainted with the Barbizon school of painting and acquired paintings by such artists as S.-F. Daubigny, H. Francais, S.-E. Jacques, F.-O. Jeanron, T. Rousseau and others. According to the author’s article, landscape painting by French artists had a significant impact on the formation of the Turgenev landscape. The reflection of the true forms of nature, attention to details, shades and transitional states, fixation of the light-and-air environment, an attempt to reveal the hidden existence of the surrounding world - all this brought together the aesthetic worldview of the writer and Barbizon artists who anticipated Impressionism.

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Fraser, Lorinda Christine. "The Barbizon School (1830-1870): Expanding the Landscape of the Modern Art Market." Arbutus Review 8, no. 1 (2017): 4–14. http://dx.doi.org/10.18357/tar81201716809.

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During the 1830s to the 1870s, a cohort of French artists developed new approaches to landscape painting and became known collectively as the Barbizon School. This informal group of artists were proponents of an innovative way of painting in which nature was the central subject of their artworks. Moreover, nature was depicted without the classical idealization or polished refinement required by the French Academy at the time. Barbizon artists were also the catalysts for changes in how art was sold during the 19th century, paving the way for an open art market system that spread across the globe and continues unchanged to this day. Using Jean-Baptiste-Camille Corot (1796-1875) as a case study, I establish the ways in which the Barbizon School forged new stylistic and economic possibilities for later modern art movements, most prominently Impressionism, outside the purview of the French Academy. I also highlight the ways in which the Barbizon artists and their supporters contributed to the formation of a new art market founded upon an interconnected network of producers, consumers, and distributors.

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Trevisan, Sara. "The Impact of the Netherlandish Landscape Tradition on Poetry and Painting in Early Modern England*." Renaissance Quarterly 66, no. 3 (2013): 866–903. http://dx.doi.org/10.1086/673585.

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AbstractThe relationship between poetry and painting has been one of the most debated issues in the history of criticism. The present article explores this problematic relationship in the context of sixteenth- and seventeenth-century England, taking into account theories of rhetoric, visual perception, and art. It analyzes a rare case in which a specific school of painting directly inspired poetry: in particular, the ways in which the Netherlandish landscape tradition influenced natural descriptions in the poem Poly-Olbion (1612, 1622) by Michael Drayton (1563–1631). Drayton — under the influence of the artistic principles of landscape depiction as explained in Henry Peacham’s art manuals, as well as of direct observation of Dutch and Flemish landscape prints and paintings — successfully managed to render pictorial landscapes into poetry. Through practical examples, this essay will thoroughly demonstrate that rhetoric is capable of emulating pictorial styles in a way that presupposes specialized art-historical knowledge, and that pictorialism can be the complex product as much of poetry and rhetoric as of painting and art-theoretical vocabulary.

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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/10.2307/45195606.

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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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Carso, Kerry Dean. "Gothic Castles in the Landscape: Sir Walter Scott and the Hudson River School of Painting." Gothic Studies 14, no. 2 (2012): 1–22. http://dx.doi.org/10.7227/gs.14.2.2.

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Dissertations / Theses on the topic "Anhui school of landscape painting"

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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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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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Wang, Yang. "Regionalizing National Art in Maoist China: The Chang’an School of Ink Painting, 1942–1976." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1429839382.

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Woodger, Jeff Robert University of Ballarat. "An inquiry into Suiboku and Kano School influences on Rococo and Romantic landscape painting through Claude Lorraine (1600-1682) and Salvator Rosa (1615-1673)." University of Ballarat, 2006. http://archimedes.ballarat.edu.au:8080/vital/access/HandleResolver/1959.17/12791.

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"This research project examines the impact and influence of Chinese and Japanese ink landscape painting on the genre of Grand Manner Classical and Romantic landscape painting in Europe, from its beginnings as an independent genre in the 17th century. Specifically, the grand theme of woods and rivers will be investigated and its stylistic and philosophical relationship to Chinese and Japanese aesthetics demonstrated. The work examines how Far Eastern landscape painting conventions and techniques can be effectively acquired, and practically applied to painting in the manner of Classical and Romantic landscapes. [...]The aim of the investigation is to contribute to our deeper understanding of the genesis of this important style of artistic representation, and give fuller credit to the initiators of the technique and to those who realised its potential in the field of Western art."<br>Doctor of Philosophy

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Woodger, Jeff Robert. "An inquiry into Suiboku and Kano School influences on Rococo and Romantic landscape painting through Claude Lorraine (1600-1682) and Salvator Rosa (1615-1673)." Thesis, University of Ballarat, 2006. http://researchonline.federation.edu.au/vital/access/HandleResolver/1959.17/38512.

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"This research project examines the impact and influence of Chinese and Japanese ink landscape painting on the genre of Grand Manner Classical and Romantic landscape painting in Europe, from its beginnings as an independent genre in the 17th century. Specifically, the grand theme of woods and rivers will be investigated and its stylistic and philosophical relationship to Chinese and Japanese aesthetics demonstrated. The work examines how Far Eastern landscape painting conventions and techniques can be effectively acquired, and practically applied to painting in the manner of Classical and Romantic landscapes. [...]The aim of the investigation is to contribute to our deeper understanding of the genesis of this important style of artistic representation, and give fuller credit to the initiators of the technique and to those who realised its potential in the field of Western art."<br>Doctor of Philosophy

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Woodger, Jeff Robert. "An inquiry into Suiboku and Kano School influences on Rococo and Romantic landscape painting through Claude Lorraine (1600-1682) and Salvator Rosa (1615-1673)." University of Ballarat, 2006. http://archimedes.ballarat.edu.au:8080/vital/access/HandleResolver/1959.17/15614.

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"This research project examines the impact and influence of Chinese and Japanese ink landscape painting on the genre of Grand Manner Classical and Romantic landscape painting in Europe, from its beginnings as an independent genre in the 17th century. Specifically, the grand theme of woods and rivers will be investigated and its stylistic and philosophical relationship to Chinese and Japanese aesthetics demonstrated. The work examines how Far Eastern landscape painting conventions and techniques can be effectively acquired, and practically applied to painting in the manner of Classical and Romantic landscapes. [...]The aim of the investigation is to contribute to our deeper understanding of the genesis of this important style of artistic representation, and give fuller credit to the initiators of the technique and to those who realised its potential in the field of Western art."<br>Doctor of Philosophy

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Muirhead, Anna. "Evergreen : [thesis] submitted in partial fulfillment of the requirements of the degree of Masters [Ie Master] of Fine Arts at Otago Polytechnic School of Art, Dunedin, New Zealand /." Conceptual Art Online- Anna Muirhead - About, 2008. http://www.imageandtext.org.nz/anna_m_about.html.

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Thesis (M.F.A.)--Otago Polytechnic, 2008. Includes bibliographical references.<br>Thesis typescript. Supervisors: Adrian Hall, Michele Beevors. Otago Polytechnic department: School of Art. "October 2008." Accompanied by a website of the exhibition of the author's artistic.

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Chiang, Tsung-Hsien, and 蔣宗賢. "Teacher Action Research on Introducing AMA into High School Elective Courses - Taking Landscape Painting as an Example." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/qa6ppj.

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碩士<br>國立交通大學<br>理學院科技與數位學習學程<br>107<br>This study is intended to introduce the general education of NCTU - Geometry Modeling Course into high school elective courses. However, due to the long styling procedures and limited teaching hours and objects, it is necessary to rethink the teaching material design, teaching process, and teaching strategies. Based on cognitive load theory and multimedia learning theory, this study uses AMA as a platform to carry out the course of fractal geometry "landscape painting" to solve the burden of working memory caused by a large amount of procedural knowledge in this practical course. This study is action research with a total of 11 students from the second year of high school. The data collection is based on qualitative data, supplemented by quantitative data. It is implemented by a three-cycle teaching operation, plan, act, review, and correct the cycle process to improve the researcher's teaching strategy and enhance the teaching ability. The results of the study show that the AMA landscape painting curriculum not only enhances the information literacy and artistic conservation of high school students but also enhances the ability of learners to think systematically and develop problem-solving skills through the deconstruction and construction of AMA messages. Peer review and work-sharing enhance their ability to communicate and express themselves. Through cooperative learning, learning gap can be reduced and the retention of learning history can help to establish cognitive development, which is in line with the core competencies requirements of directions governing for 12-year basic education curricula. In terms of teaching process improvement, this study shows that: (1) The three-cycle teaching mode can accelerate learners to master the practical curriculum. (2) The effectiveness of the dual-window teaching mode is influenced by the design of the textbook and the size of the screen. (3) The establishment of the standard process of student questioning and teacher feedback, teachers can control the overall teaching rhythm. (4) Improvement of the file transfer process and the introduction of the Google Classroom teaching platform can optimize the overall teaching process. (5) Revise the teaching strategy through action research, and display the cognitive load scale according to the three-cycle stage to show that the internal cognitive load and the external cognitive load are successively decreased.

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Obrazová, Martina. "Ferdinand Engelmüller 1867-1924." Master's thesis, 2013. http://www.nusl.cz/ntk/nusl-330248.

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Ferdinand Engelmüller 1867-1924 The subject of this thesis is monographic description of life and work of the painter Ferdinand Engelmüller. The author of this work focuses on cultural and historical context of the era at turn of the 20th century, in which she includes development of the landscape painting art and landscape painting school of Julius Mařák. Major part of this thesis is dealing with life, work and pedagogical activities of Engelmüller. It is subdivided into three stages defined by the important and breakthrough events of the painter's life and career. The work is largely based on the study of archival documents and written documents of Ferdinand Engelmüller. Thesis also includes list of works of Ferdinand Engelmüller introducing the works that are located in Czech public collections within local museums and galleries. Keywords Ferdinand Engelmüller, Julius Mařák's School, Czech Landscape Painting, Ferdinand Engellmüller Private School

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Books on the topic "Anhui school of landscape painting"

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Xin'an hua pai = Xin'an painting school. Wen wu chu ban she, 2013.

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Xin'an hua pai. Anhui mei shu chu ban she, 2009.

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Cang sang feng gu: Xin'an hua pai Zhang jia bai nian dan qing = Cangsang fenggu : Xin'an huapai Zhangjia bainian danqing. Anhui wen yi chu ban she, 2018.

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1954-, Yu Hongli, and Hu Chi, eds. Xin'an hua pai: Xin'an huapai. Anhui ren min chu ban she, 2005.

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Mao xie jia shan. Shanghai shu hua chu ban she, 2006.

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Xin'an hua pai. Jilin mei shu chu ban she, 2003.

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Anne, Lyles, and Hemingway Andrew, eds. Romantic landscape: The Norwich school of painters. Tate Gallery Pub., 2000.

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The Hudson River School: American landscape artists. Todtri, 1996.

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John, Sillevis, Kraan John, Musée des beaux-arts (Gand, Belgique)., Institut néerlandais (Paris France), and Haags Gemeentemuseum, eds. The Barbizon School. Haags Gemeentemuseum, 1986.

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Bei fang shan shui hua pai, Nan fang shan shui hua pai jing pin ji. Jiangxi mei shu chu ban she, 2014.

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Book chapters on the topic "Anhui school of landscape painting"

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Wallach, Alan. "Aestheticizing Tendencies in Hudson River School Landscape Painting at the Beginning of the Gilded Age." In New York: Art and Cultural Capital of the Gilded Age. Routledge, 2018. http://dx.doi.org/10.4324/9781351027588-4.

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Woods, Naurice Frank, and George Dimock. "Robert Seldon Duncanson (1821–1872)." In Race and Racism in Nineteenth-Century Art. University Press of Mississippi, 2021. http://dx.doi.org/10.14325/mississippi/9781496834348.003.0002.

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Robert Seldon Duncanson was America’s first great painter of African descent. His accomplishments placed him in the first rank of nineteenth-century American landscape artists, but his race created challenging societal impediments in the way he pursued his artistic muse—in his social interactions with whites, in the way he produced his art, in the clientele that patronized him, and on deeply personal levels. This chapter demonstrates how Duncanson not only survived as an artist of color living in antebellum times, but also managed to establish a solid reputation as one of America’s finest representatives of the immensely popular Hudson River School of painting. It also helps resolve the longstanding question as to whether Duncanson crossed racial lines to attain success.

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Curtis, Cathy. "Paris, Poets, and Poverty." In Alive Still. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190908812.003.0004.

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Freelance income and frugality allowed Nell to embark on her first trip abroad in 1950. In Paris, she felt as though she had stepped into an Impressionist landscape. Bowled over by Chartres Cathedral and the museums, she also visited two of her art idols, Jean Hélion and Fernand Léger. She became involved with a German woman with whom she traveled to Florence and Rome. Back in New York, while living with Midi Garth, she enjoyed hanging out with several of the poets later known as the New York School: Frank O’Hara, John Ashbery, and Kenneth Koch. Bebop records played at her boisterous parties, which often included marathon games of poker. In her painting, she had embarked on a period of experimentation with figurative imagery. Midi and Brook evokes a pastoral scene in Vermont, where the women vacationed. Meanwhile, her freelance work included serving as designer of the Village Voice.

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Conference papers on the topic "Anhui school of landscape painting"

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Nuere, Silvia, Adela Acitores Suz, Laura de Miguel, et al. "“Network Design” a Multidisciplinary Project to Raise Awareness of the Indiscriminate Use of Plastics." In 79th International Scientific Conference of University of Latvia. University of Latvia, 2021. http://dx.doi.org/10.22364/htqe.2021.55.

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The University is a meeting place for the transmission of knowledge, but the fact of being able to transmit values that complement student’s training is beyond the exchange of information. Through the call for educational innovation projects, we have the possibility of carrying out actions aimed at solving specific problems by applying innovative methodologies. In 2019, at the High Technical School of Engineering and Industrial Design (ETSIDI) from the Universidad Politécnica de Madrid (UPM), a project was awarded in collaboration with the High Technical School of Architecture (ETSAM-UPM), the IADE School of Design, the Universidad Rey Juan Carlos (URJC), the Universidad Internacional de la Rioja (UNIR), as well as the Faculty of Fine Arts of the Universidad Complutense de Madrid (UCM). The project, called Network Design, is framed in the Science, Technology, Engineering, Arts and Mathematics (STEAM) environment, applying active approach methods to the problem of the indiscriminate use of plastics. We must promote in the students’ skills they will need later in their professional life. Considering that students of different degrees are used to working with problem learning methodology, we think that an approach should be given that goes beyond obtaining a tangible product. The proposal presented is based on the reuse of food container nets as an essential material to create an object, being a design product, a drawing, or a painting. The “Network” union with other universities encourages the work to be truly multidisciplinary and interuniversity, and that each participant collaborates to spread the project more widely by combining the different ways of tackling the same problem. It will seek to create harmony between the point of view of the materials’ specialist, the landscape painter, the set designer, the fashion designer, the industrial and product designer, and the interior designer. We look for different creation approaches with a common purpose that revalues each plastic. The motto is making beauty from the uselessness and one of the most important objective is encouraging awareness about the indiscriminate use of plastics through a design or an artistic approach.

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