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Dissertations / Theses on the topic 'Australian landscape painting'
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1
Parker, Margaret Ina. "Landscape painting : connection, perception and attention /." Access full text, 2006. http://www.lib.latrobe.edu.au/thesis/public/adt-LTU20080225.113947/index.html.
Full textAbstract:
Thesis (M.Visual Arts) -- La Trobe University, 2006.Research. "An exegesis submitted in partial fulfilment of the requirements for the degree of Master of Visual Arts by Research, School of Visual Arts and Design, Faculty of Humanities and Social Sciences, La Trobe University, Bundoora". Includes bibliographical references (leaves 87-92). Also available via the World Wide Web.
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Parker, Margaret Ina, and margaret_p@optusnet com au. "Landscape Painting: Connection, Perception and Attention." La Trobe University. Visual arts and design, 2006. http://www.lib.latrobe.edu.au./thesis/public/adt-LTU20080225.113947.
Full textAbstract:
I investigate the lived experience, the actuality of responding to land as a painter. This thesis consists of intensive investigations in the field and further exploration in the studio, resulting in a body of paintings and drawings which form the exhibition. The exegesis explores theories and ideas surrounding the work. The psychological engagement between people, land and art is of major concern. The choice of place selected to paint and the subject matter of rocks is discussed. Painters who work outside or have painted at the same site are considered for comparison with my working methods or concerns. The selective view is intimate. The format of the image and the composition are discussed in terms of proximity and space.
Consideration of the psychology of engagement with land and landscape painting, either as an observer or painter, is a major component of the research. This examination of human psychological development illuminates the origin of our sense of self and how we relate to the land on which we live. The premise of this enquiry is the idea that art and culture could reflect human psychological development. Do art objects contribute to cultural understanding of the relationship of person to environment? A phenomenological perspective is incorporated in this exploration of the interrelation of vision, perception and attention. Can the reality of experience be transferred into the art work? The deep attention to the landscape of Australian Aboriginal people serves as a cultural reference for these investigations.
This study concludes that sentient consciousness involving responsibility for land is an open, effective way of perceiving and depicting landscape. Responsibility for land can be encouraged by the development of cultural ideas based around landscape and can be the result of feeling connected to land. Art can contribute to changes in attitudes to land.
3
Donald, Colin University of Ballarat. "Quoting landscape : an investigative journey across the landscape of the Westen district of Victoria." University of Ballarat, 2004. http://archimedes.ballarat.edu.au:8080/vital/access/HandleResolver/1959.17/12759.
Full textAbstract:
"This research project aims to provide a contemporary visualisation of "specific sites." The visualisation of these selected landscapes will draw upon and add to existing traditions of representation of this region, embedding my experiences within this dialogue."Master of Arts (Visual Arts)
4
Donald, Colin. "Quoting landscape : an investigative journey across the landscape of the Westen district of Victoria." Thesis, University of Ballarat, 2004. http://researchonline.federation.edu.au/vital/access/HandleResolver/1959.17/37534.
Full textAbstract:
"This research project aims to provide a contemporary visualisation of "specific sites." The visualisation of these selected landscapes will draw upon and add to existing traditions of representation of this region, embedding my experiences within this dialogue."Master of Arts (Visual Arts)
5
Donald, Colin. "Quoting landscape : an investigative journey across the landscape of the Westen district of Victoria." University of Ballarat, 2004. http://archimedes.ballarat.edu.au:8080/vital/access/HandleResolver/1959.17/14594.
Full textAbstract:
"This research project aims to provide a contemporary visualisation of "specific sites." The visualisation of these selected landscapes will draw upon and add to existing traditions of representation of this region, embedding my experiences within this dialogue."Master of Arts (Visual Arts)
6
Suwannakudt, Phaptawan. "The Elephant and the Journey: A Mural in Progress." Thesis, The University of Sydney, 2005. http://hdl.handle.net/2123/1101.
Full textAbstract:
The Elephant and the Journey is about what and how people see in the land and how this is expressed through art forms. The dissertation consists of three main parts. The first in the introduction explains the use of the narrative figuration form in Thai temple mural painting in my practice, and how I used it to apply to the contemporary context in Australia. The second concerns three main groups of work including Australian landscape paintings in the nineteenth century, aboriginal art works and Thai mural painting, which apply to the topic of landscape. The second part in Chapters I and II, examine how significant the perspective view in the landscape was for artists during the colonial period in Australia. At the same time I consult the practice in Aboriginal art which also concerns land, and how people communicate through the subject and how both practices apply to Thai art, with which I am dealing. Chapter III looks at works of individual artists in contemporary Australia including Tim Johnson, Judy Watson, Kathleen Petyarre Emily Kngwerreye, and then finishes with my studio work during 2004-2005. The third part, the conclusion refers to the notions of cultural geography as suggested by Mike Crang, Edward Relph and Christopher Tilley, which analyse how people relate to a location through their own experience. I describe how I used a Thai narrative verse written by my father to communicate my work to the Australian society in which I now live.
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Suwannakudt, Phaptawan. "The Elephant and the Journey: A Mural in Progress." University of Sydney, 2005. http://hdl.handle.net/2123/1101.
Full textAbstract:
Master of Visual ArtsThe Elephant and the Journey is about what and how people see in the land and how this is expressed through art forms. The dissertation consists of three main parts. The first in the introduction explains the use of the narrative figuration form in Thai temple mural painting in my practice, and how I used it to apply to the contemporary context in Australia. The second concerns three main groups of work including Australian landscape paintings in the nineteenth century, aboriginal art works and Thai mural painting, which apply to the topic of landscape. The second part in Chapters I and II, examine how significant the perspective view in the landscape was for artists during the colonial period in Australia. At the same time I consult the practice in Aboriginal art which also concerns land, and how people communicate through the subject and how both practices apply to Thai art, with which I am dealing. Chapter III looks at works of individual artists in contemporary Australia including Tim Johnson, Judy Watson, Kathleen Petyarre Emily Kngwerreye, and then finishes with my studio work during 2004-2005. The third part, the conclusion refers to the notions of cultural geography as suggested by Mike Crang, Edward Relph and Christopher Tilley, which analyse how people relate to a location through their own experience. I describe how I used a Thai narrative verse written by my father to communicate my work to the Australian society in which I now live.
8
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."Doctor of Philosophy
9
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.
Full textAbstract:
"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."Doctor of Philosophy
10
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.
Full textAbstract:
"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."Doctor of Philosophy
11
Carroll, Rachel Art College of Fine Arts UNSW. "What kind of relationship with nature does art provide?" Awarded by:University of New South Wales. Art, 2007. http://handle.unsw.edu.au/1959.4/43308.
Full textAbstract:
The relationship with nature through art has been explored as a two fold bond. The first considers a relationship with nature via art and science, where the history and contemporary application of scientific illustration in art is explored; while the second explores past and present connections with nature via art and the landscape, particularly the panoramic tradition. Historically these relationships have predominately been about dominating nature, mans dominion over the land. Science was seen as the only authority, while our relationships with the land in art, positioned the viewer at a commanding distance above and over the land, as seen in the post colonial panoramic tradition. In contrast, -The Coorong Series- explores a lived history with nature rather than the historical role of dominance. -The Coorong Series" explores a relationship of knowledge, understanding, and the experience of nature; through two parts. The first combines art and science in -The Coorong Specimen Series', to explore the facts and knowledge that science has provided about certain plants, birds and marine life from the Coorong. Inspiration has been derived from 19thC scientific illustrations and the lyrical prints of the Coorong by Australian Artist John Olsen. Part two explores the immersive experience of the iconic landscape in ???The Coorong Landscape Series" providing a relationship that seeks to understand the functionality of the location and to celebrate the unique beauty of this diverse region. Inspiration has been gained from the landscapes by l8th and 19th C artists John Constable and Claude Monet, along with landscapes by contemporary artists, John Walker and Mandy Martin. Through aesthetic notions such as scientific illustration, panoramic landscape, immersive scale, the collection of work, an expressionistic use of paint, and labeling of each piece like a museum display. -The Coorong landscape series" provides an exploration of a region that immerses the viewer in an experience of the location. The series portrays a relationship with nature through art that educates the viewer about The Coorong region. Connections are made between the land, birds, plants, fish, and human interaction; which results in an ecological consideration of the Coorong. Ultimately it is the educational experience that art provides allowing the viewer to explore a plethora of relationships within nature, and to explore how these relationships have changed or continue to exist within this era.
12
Gray, Sarah Willard. "Abstracting from the landscape a sense of place /." Access electronically, 2008. http://ro.uow.edu.au/theses/147.
Full text
13
Hoene, Katherine Anne. "Tracing the Romantic impulse in 19th-century landscape painting in the United States, Australia, and Canada." Thesis, The University of Arizona, 2000. http://hdl.handle.net/10150/278748.
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The purpose of this thesis is to identify essential characteristics of the first generation of Romantic landscape painters and painting movements in a given English-speaking country which followed the generation of Turner, Constable and Martin in England, and then trace how the second generation of Romantic-realist painters represents a different paradigm. For a paradigmatic construct of the first generation, the focus is on the lives and major works of the American arch-Romantic landscape painter Thomas Cole (1801--1848) and the Australian Romantic landscape painter Conrad Martens (1801--1878). The second generation model features the American Frederic Edwin Church (1826--1900), the Australian William Charles Piguenit (1836--1914), and the British Canadian Lucius Richard O'Brien (1832--1899). Cole and Martens, closer to their predecessors in England, created dynamic paradigm shifts in their new countries. Following them, the second generation of Romantic-realists produced a synthesis of romanticism, scientific naturalism, and nationalistic symbolism.
14
Barnes, John Robert. "Reconnection: an exploration of Australian landscape beyond history and myth." Thesis, 2011. http://hdl.handle.net/1959.13/929483.
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Research Doctorate - Doctor of Philosophy (PhD)Reconnection - an Exploration of Australian Landscape Beyond History and Myth is an investigation into whether the materials and processes of landscape-focussed studio research, structured on an experiential foundation, can act as a portal of connection with nature for an arguably disconnected humanity. My direct experience of the land is central to Reconnection but the studio is the place where imagination and labour operated as complementary processes to produce the seven series of paintings that form the exhibition. The Australian landscape is the constant reference through which I have attempted to engage an audience with the ideas and emotions that underpin this visual exploration. This exegesis aims to establish the personal, philosophical, environmental, historic and intellectual background in which to position the exhibition. From within this context I explore notions of belonging and connection to place and by examining the conceptual and material particularities of each series, I have tried to reveal the framework on which they are constructed and how they inter-act to form a self-contained whole. Throughout Reconnection I have attempted to assess the continuing relevance of landscape painting within the plurality of contemporary art practice by examining and questioning its changing forms and focus within non-Indigenous Australian art since colonisation, as this is the testing ground for my works. This project is founded on my own experience and history and so to venture into the complexities of Indigenous artistic production with which I have had little direct personal involvement, is to go beyond its scope. Within this research and completed body of paintings I have sought to establish a point of connection between nature and a viewing audience while questioning the abilities of landscape painting to act as a communicative medium in the exchange of ideas and emotion.
15
Reuter, Emily. "Terra Incognita: the sublime, the uncanny and nostalgia in painting the landscape Australian." Thesis, 2009. http://hdl.handle.net/1959.13/805548.
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Masters Research - Master of Fine ArtThis paper is written in four parts: Melancholy and the Colonial in Australia, the Sublime with Aspects of the Picturesque, the Strange - Freud's Unheimlich, the Uncanny, and a journal on the author's travel through Central Australia. The above is explored and shown how they continue to shape Australian identity, the author's painting practices and that of other Australian artists.
16
Cassar, Manwel. "Mixed hues on the palette: reflections of the diasporic artist painting across two landscapes." Thesis, 2014. https://vuir.vu.edu.au/25415/.
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Mixed Hues on the Palette: Reflections of the Diasporic Artist Painting Across Two Landscapes deals with the experiences of Maltese-Australian artists in diaspora that, willingly or otherwise, affects them in working across two different cultural landscapes. More specifically, the study explores: how does diasporic existence shape the artistic performance?
17
Nevin, Berger Rebecca. "Examining Aesthetic Subjectivity in Embodied Environments." Phd thesis, 2019. http://hdl.handle.net/1885/164231.
Full textAbstract:
This inquiry has been concerned with identifying aesthetic
languages that make visible relationships and processes that
connect body and world beyond the surface of the skin. It
hypothesised that aesthetic language provides a material
connection which co-enables this exchange. Examining the
aesthetic dimension of the embodiment-environment intersection,
this inquiry reasoned, could make tangible the material continuum
generated through transient processes of living. The key sites of
the home and the landscape framed the scope of this research.
The methodology used to undertake this research combined
multi-artform practice spanning sculpture, video, installation,
and drawing, visual diary-led observation and critical
reflection, theoretical research, and critical engagement with
the work of other artists and practitioners working in two- and
three-dimensions.
An examination of subjectivity and of aesthetics as an
intersection of body and world centres this research. A new
materialist perspective provides a logic and drive for
scrutinising this intersection. New materialism unsettles
traditional assumptions about the passivity of matter. It
provides a framework for re-imagining the materiality of the
world and the position of human subjectivity within it: a
re-imagining, this research contends, that the current ecological
crisis demands.
The notion of aesthetics used in this inquiry is an embodied
aesthetics that refers to the meaningful sensuousness that
adheres and orients the body in the world. Ideas from John Dewey
and the field of everyday aesthetics informed critical engagement
in this embodied aesthetics through creative practice. This
approach enabled a dialogue between special aesthetic
experiences, everyday aesthetics, and habitual perception to
emerge in the research.
This research used aesthetics to examine how spaces are
demarcated and different experiences enabled. Over time, the home
as it is situated within the landscape became analogous for the
body’s intertwining with the environment. In this context, the
material passage of water through the home provided a powerful
and instructive embodiment of this intertwining, revealing both
the demarcation and the continuity of disparate spaces.
The final body of artwork is an installation that integrates the
key aesthetic languages developed through this inquiry to form a
three-dimensional river that is animated with the everyday sounds
of water and the textures of domestic warmth. It is titled Oikos,
the Greek root for ecology. ‘Oikos’ means ‘whole house and
dwelling place’. The artwork reflects the multi-layering of
aesthetic relationships through which our bodies fuse with this
world.