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Journal articles on the topic 'Landscape Art History'

Author: Grafiati

Published: 4 June 2021

Last updated: 17 February 2022

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1

Van den Ancker, Hanneke, John Vermetten, and Nienke Korthof. "Using drawings and art works to communicate landscape structure and history." Schriftenreihe der Deutschen Gesellschaft für Geowissenschaften 66 (May 28, 2010): 94. http://dx.doi.org/10.1127/sdgg/66/2010/94.

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2

Eaton, Marcia Muelder, and Martin Warnke. "Political Landscape: The Art History of Nature." Journal of Aesthetics and Art Criticism 55, no. 4 (1997): 439. http://dx.doi.org/10.2307/430939.

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3

Thomas, Phillip D., and Martin Warnke. "Political Landscape: The Art History of Nature." Environmental History 2, no. 4 (October 1997): 510. http://dx.doi.org/10.2307/3985623.

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4

Törmä, Minna. "Chinese Landscape Painting as Western Art History." Konsthistorisk Tidskrift/Journal of Art History 80, no. 3 (September 2011): 184–86. http://dx.doi.org/10.1080/00233609.2011.583679.

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5

Lee, Byunghwee, Min Kyung Seo, Daniel Kim, In-seob Shin, Maximilian Schich, Hawoong Jeong, and Seung Kee Han. "Dissecting landscape art history with information theory." Proceedings of the National Academy of Sciences 117, no. 43 (October 12, 2020): 26580–90. http://dx.doi.org/10.1073/pnas.2011927117.

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Painting has played a major role in human expression, evolving subject to a complex interplay of representational conventions, social interactions, and a process of historization. From individual qualitative work of art historians emerges a metanarrative that remains difficult to evaluate in its validity regarding emergent macroscopic and underlying microscopic dynamics. The full scope of granular data, the summary statistics, and consequently, also their bias simply lie beyond the cognitive limit of individual qualitative human scholarship. Yet, a more quantitative understanding is still lacking, driven by a lack of data and a persistent dominance of qualitative scholarship in art history. Here, we show that quantitative analyses of creative processes in landscape painting can shed light, provide a systematic verification, and allow for questioning the emerging metanarrative. Using a quasicanonical benchmark dataset of 14,912 landscape paintings, covering a period from the Western renaissance to contemporary art, we systematically analyze the evolution of compositional proportion via a simple yet coherent information-theoretic dissection method that captures iterations of the dominant horizontal and vertical partition directions. Tracing frequency distributions of seemingly preferred compositions across several conceptual dimensions, we find that dominant dissection ratios can serve as a meaningful signature to capture the unique compositional characteristics and systematic evolution of individual artist bodies of work, creation date time spans, and conventional style periods, while concepts of artist nationality remain problematic. Network analyses of individual artists and style periods clarify their rhizomatic confusion while uncovering three distinguished yet nonintuitive supergroups that are meaningfully clustered in time.

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6

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

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7

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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8

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

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9

Szatek, K. "The Political Landscape: An Art History of Nature." Interdisciplinary Studies in Literature and Environment 3, no. 2 (October 1, 1996): 187–89. http://dx.doi.org/10.1093/isle/3.2.187.

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10

Streatfield, David C. "The History of Landscape Architecture: The Art and Aesthetics of the Landscape." Forest & Conservation History 32, no. 4 (October 1988): 212–14. http://dx.doi.org/10.2307/4005038.

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11

EATON, MARCIA. "Martin Warnke, Political Landscape: The Art History of Nature." Journal of Aesthetics and Art Criticism 55, no. 4 (September 1, 1997): 439–40. http://dx.doi.org/10.1111/1540_6245.jaac55.4.0439.

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12

Thornes, John E. "A brief history of weather in European landscape art." Weather 55, no. 10 (October 2000): 363–75. http://dx.doi.org/10.1002/j.1477-8696.2000.tb04022.x.

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13

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

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

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14

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

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

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15

Kaplan, Brett Ashley. "Exposing Violence, Amnesia, and the Fascist Forest Through Susan Silas and Collier Schorr's Holocaust Art." IMAGES 2, no. 1 (2008): 110–28. http://dx.doi.org/10.1163/187180008x408627.

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AbstractThis article examines the tensions between space and violence, amnesia and memorialization, and the uses of the forest by examining the work of two Jewish artists, Susan Silas and Collier Schorr, whose photographs contribute to the work of geographers, historians, landscape architects, literary critics and others concerned with the connection between space and memory. While the beauty of Silas and Schorr's images draws us in and opens up a dialogue between history and experience, these images also uncover the literal and metaphorical violence of these landscapes, resist the impulse toward erasure that the landscape always threatens, and refuse the pollution of the landscape tradition by fascist ideology.

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16

Ott, Cynthia. "POLITICAL LANDSCAPE: THE ART HISTORY OF NATURE (Essays in art and culture). Martin Warnke." Art Documentation: Journal of the Art Libraries Society of North America 14, no. 4 (December 1995): 44. http://dx.doi.org/10.1086/adx.14.4.27948795.

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17

Lenman, R. "Art and Science in German Landscape Painting 1770-1840." German History 14, no. 3 (July 1, 1996): 393. http://dx.doi.org/10.1093/gh/14.3.393.

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18

Kyselov, V. M., and G. V. Kyselovа. "HISTORICAL PARKS OF UKRAINE. FROM HISTORY TO MODERNITY." Bulletin of Odessa State Academy of Civil Engineering and Architecture, no. 81 (December 7, 2020): 18–25. http://dx.doi.org/10.31650/2415-377x-2020-81-18-25.

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Abstract. The article explores the issues of the emergence and development of historical parks in Ukraine. There are four periods of formation and development of historical parks in Ukraine: the first ‒ from the times of Kievan Rus to the middle of the 17th century (the origin of park building), the second ‒ from the middle of the 17th century before the revolution of 1917 (construction of mainly private palaces and park ensembles), the third ‒ from 1918 to 1991 (soviet period), the fourth ‒ from 1991 to the present (the period of independence of Ukraine). The definition of the concept «historical park» is given. The park is a work of art. A unique situation in human practice: to create a living and perfect work of art at the same time. Gardens and parks provide this opportunity. The park is history. The historical park preserves and broadcasts this history to us ‒ it is an object of cultural heritage, our common heritage. Sometimes the park is also a museum-reserve and bears the function of preserving heritage. Historical gardens and parks often acquire the status of monuments. Monuments of landscape gardening art are historical and cultural monuments that organically include plants, landscape features (hills, water sources and waterfalls, stream or river valleys, stones, rocks, distant landscape perspectives, sometimes wetlands), architectural structures, sculptures, flower beds, etc. Historical parks of cities include palaces and manor complexes, botanical gardens, city parks and memorial parks, as well as parks-monuments. In total, there are 88 historical parks-monuments of landscape gardening art of national and 426 local significances in Ukraine. Parks-monuments of landscape gardening art of local importance include: parks of culture and recreation, arboretums, woodlands used as recreation parks, and other objects. In particular, in the Odessa region there are 22 parks-monuments, in the city of Odessa ‒ 5 parks-monuments of gardening art (T. Shevchenko Park, Dyukovsky Garden, City Garden, Victory Arboretum, Park named after Savitsky). The article highlights the main problems in the restoration work of historical parks and solutions. The history of the emergence and development of parks in Ukraine is analyzed. It was concluded that the historical parks are multifaceted and interesting not only for architectural ensembles, but also for their biocenosis.

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19

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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20

Fox, William L. "Terra Antarctica: a history of cognition and landscape." Archives of Natural History 32, no. 2 (October 2005): 192–206. http://dx.doi.org/10.3366/anh.2005.32.2.192.

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The evolution of our perception of the Antarctic from an unknown space to a comprehensible place can be traced through the evolution of its portrayal in visual art. Early expedition artists relied upon the topographically-based aesthetic traditions of northern European landscape painting as the polar region was first charted, and the continent's outlines were traced in coastal profiles during the late eighteenth through mid-nineteenth centuries. This pragmatic approach with its close ties to cartographic needs was later superseded by increasingly symbolic depictions of the environment. The artists accompanying Scott, Shackleton and Mawson, for example, often portrayed the Antarctic as an historic stage for heroic action. With the International Geophysical Year in 1957–1958, modernist aesthetics reached the continent. Visiting artists sponsored by national programs began to abstract the environment in photography and painting. By the turn of the century, sculptors and installation artists had helped bring the Antarctic more fully into the international cultural arena as a subject for contemporary art. This aesthetic shift is both a symptom of, and part of the process for, the transformation of a terra incognita into a terra Antarctica.

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21

Porshnev, Valerij P. "Landscape gardening art of the Hellenistic states of Asia Minor." Vestnik of Saint Petersburg State University of Culture, no. 1 (46) (March 2021): 112–20. http://dx.doi.org/10.30725/2619-0303-2021-1-112-120.

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The article continues a cycle of publications of the author on Hellenustic landscape gardening art. The cultural region, which already in the most ancient times was a contact zone between the Greek world and the East is considered. The historical heritage of the Phrygian and Lydian kingdoms and the Persian Empire, which bequeathed to governors the Hellenistic era sacred groves, hunting reserves paradises and terrace parks with regular planning is traced. Special attention is devoted to parks of the Pontic kingdom of time of Mithridates VI Eupator’s government and parks of Pergamon. The country residence of Mithridates VI in Kabeira is interesting as a sample of the landscape park, the first in the history of the European landscape gardening art, at which there are motives characteristic for parks of time of Romanticism. Besides, parks in Kabeira and in Pergamon had unique collections poisonous and the herbs gathered by Mithridates VI and Attalus III. According to the author of article, these collections, besides utilitarian appointment, being raw materials for preparation of poisons and drugs, had aesthetic value, enriching park landscapes, and their natural qualities were intricately connected with mythology and religion of Greeks. Base of a research are the landscapes of the Black Sea coast of Turkey, the rich archaeological material saving up in one and a half centuries of excavations in Pergamon, and written sources, compositions of antique authors, among which are the works of poet and scientist 2nd century BC Nicander of Colophon not yet translated to Russian.

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22

Pontynen, Arthur. "AWinter Landscape: Reflections on the Theory and Practice of Art History." Art Bulletin 68, no. 3 (September 1986): 467–79. http://dx.doi.org/10.1080/00043079.1986.10788364.

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23

Malcolm, Annie. "The past at the edge of the future: Landscape painting and contemporary places." Journal of Contemporary Chinese Art 7, no. 2-3 (December 1, 2020): 221–40. http://dx.doi.org/10.1386/jcca_00027_1.

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In this article, I offer an ethnographic account of Wutong Shan, and engage landscape painting as an interpretative device. Wutong Shan represents a unique phenomenon of urban transformation in that its residents cultivate a life harkening back to a rural past in an attempt to build a utopia unfettered by the deafening noise of modernity, which can easily be found down the road in Shenzhen, China’s newest city. Similar to what landscape painters throughout history have created through image, Wutong residents create a world of retreat, escape and natural beauty in a space at the edge of the urban. Both a landscape painting and this ethnographic place are built through a set of creative acts, a sense of self-cultivation, and a desire for escape. In Wutong Shan, the other side of the creative process is a livable environment rather than an art object. One of the ways I read landscape painting to understand Wutong Shan is by thinking with contemporary Chinese art works that, through illusion, revisit the landscape in light of industrial urbanization. I bring together three strains of thinking: (1) my contemporary ethnographic research on Wutong Art Village, (2) understandings of Chinese landscape paintings and their associated conceptions of nature and utopia and (3) contemporary art that renegotiates the landscape form, analysed through the emergent field of eco-art history.

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24

Porshnev, V. P. "Landscape gardening art of the Seleucid Empire." Vestnik of Saint Petersburg State University of Culture, no. 4 (45) (December 2020): 85–92. http://dx.doi.org/10.30725/2619-0303-2020-4-85-92.

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Landscape art of the state of the Seleucid Empire, which inherited a considerable part of the broken-up Alexander of Macedon’s Empire still was not a subject of a separate research. Unlike Ptolemaic Egypt where imperial gardeners managed harmoniously to unite the landscape planning inherited from sacred groves and parks of Hellas with Ancient Egyptian tradition of regular planning, there is no reason to speak about any specific «Seleucid’s style». Nevertheless, landscape art of this dynasty has the great interest to historians of ancient art as it fills a time gap between gardens and parks of an era of Hellenism and further stages of landscape art’s history. Having inherited and having enriched the Persian paradises and Hanging gardens of Babylon, having extended the culture of the Greek policies to the East, it, further, transfers the heritage to gardeners of Parthia and Bactria, Pergamum kingdom, Roman Empire. Article investigates gardens and parks on the cultural space controlled by Seleucid’s on certain regions (Asia Minor, Mesopotamia, Persia, Bactria, Syria). The main attention is devoted to the park in Daphne, the suburb of Antiochiaon- Orontes, to the biggest and best-known park of antiquity. The author builds a research both on the saved-up archaeological material, and on the written sources which not always are available in high-quality Russian translations.

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25

Harley, J. B. "Mapping the landscape: Essays on art and cartography." Journal of Historical Geography 18, no. 2 (April 1992): 225–26. http://dx.doi.org/10.1016/0305-7488(92)90136-w.

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26

Pico, Ramón. "AERIAL ART, THE NEW LANDSCAPE OF ROBERT SMITHSON." JOURNAL OF ARCHITECTURE AND URBANISM 43, no. 2 (January 15, 2020): 181–91. http://dx.doi.org/10.3846/jau.2019.10354.

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Aircraft were to play a decisive role in the short career of Robert Smithson. In 1969, when he published his article Aerial Art, Walther Prokosch, an architect specializing in aviation, put him in contact with TAMS engineering. This gave rise to his involvement in a land altering operation as vertiginous and brutal as the construction of Dallas Fort-Worth International Airport. At that point Smithson became aware of the human capacity to transform Mother Earth and the importance of contemplation from the air. He incorporated these interests into his artistic creation, thus paving the way for earthwork, crucial to the evolution of Land Art. The study of the documents included among Robert Smithson’s Papers at the Smithsonian Museum of American Art allows us to reconstruct a history that shared interests and concerns with Moholy-Nagy’s New Vision or Le Corbusier’s Loi du Méandre.

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27

Ehrlich, Tracy L. "Review: Romantic Gardens: Nature, Art, and Landscape Design." Journal of the Society of Architectural Historians 70, no. 2 (June 1, 2011): 266–68. http://dx.doi.org/10.1525/jsah.2011.70.2.266.

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28

Brosens, Koenraad, Klara Alen, Astrid Slegten, and Fred Truyen. "MapTap and Cornelia Slow Digital Art History and Formal Art Historical Social Network Research." Zeitschrift für Kunstgeschichte 79, no. 3 (December 30, 2016): 315–30. http://dx.doi.org/10.1515/zkg-2016-0025.

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Abstract The essay introduces MapTap, a research project that zooms in on the ever-changing social networks underpinning Flemish tapestry (1620 – 1720). MapTap develops the young and still slightly amorphous field of Formal Art Historical Social Network Research (FAHSNR) and is fueled by Cornelia, a custom-made database. Cornelia’s unique data model allows researchers to organize attribution and relational data from a wide array of sources in such a way that the complex multiplex and multimode networks emerging from the data can be transformed into partial unimode networks that enable proper FAHSNR. A case study revealing the key roles played by women in the tapestry landscape shows how this kind of slow digital art history can further our understanding of early modern creative communities and industries.

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29

Elkins, James. "The endgame, and the Qing eclipse1." Journal of Contemporary Painting 6, no. 1-2 (October 1, 2020): 23–48. http://dx.doi.org/10.1386/jcp_00012_7.

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Presented as an archival text for the Journal of Contemporary Painting, James Elkins’ ‘The endgame, and the Qing eclipse’ is an abridged version of the the final chapter of a book-length study, Chinese Landscape Painting as Western Art History (Hong Kong University Press, 2010). Elkins demonstrates the unusual structure of the history of Chinese painting, whereby the Ming decline and Qing eclipse have no real parallels in the West. Yet, as a counter-hypothesis, he argues that Late Ming and Qing artists appear to art history as a form of postmodernism. In itself, this represents a nuanced reading of the temporalities of modern and postmodern periods (which challenges comparative approaches and indeed the fundamental structures of western art history). Crucially, the account provides ways of thinking about how Chinese landscape painting is viewed through the lens of art history, a discipline that Elkins claims is partly, but finally and decisively, western.

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30

Pontynen, Arthur. "A Winter Landscape: Reflections on the Theory and Practice of Art History." Art Bulletin 68, no. 3 (September 1986): 467. http://dx.doi.org/10.2307/3050978.

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31

Åsebø, Sigrun. "Travelling Huts and Invading Spaceships: Marianne Heske, Tiril Schrøder, and Norwegian Romantic Landscapes." Romantik: Journal for the Study of Romanticisms 3, no. 1 (March 4, 2016): 51. http://dx.doi.org/10.7146/rom.v3i1.23253.

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The article discusses the art of the contemporary artists Marianne Heske and Tiril Schrøder, their quotations of romantic landscape, and the way this has been defined in art history. Most readings of Heske and Schrøder place them firmly in a contemporary context. By exploring the reference often made between the two artists and the concept of ‘landscape’ in art history, the article highlights how many readings, despite insisting on deconstruction in Heske and Schrøder’s art, still situate their art firmly in a narrative where landscape figures as a genre, where meaning is inherent, and where the artist serves as the visionary mind that sets the whole play off. Through a close reading of Prosjekt Gjerdeløa [Project Gjerdeløa] in relation to ideas of nationality and site as fixed, and to romantic constructions of the painter/scientist as a masculine structure, the article concludes that Heske and Schrøder’s art can be characterized as deconstructive and hybrid spaces. By inscribing meaning and value to hybrid space, their art represents a ‘view from elsewhere’ (de Lauretis), a view that can open doors to new conceptualisations of identity and the body.

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32

Duan, Lian. "The Peircean order of signification and its encoding system in Chinese landscape painting." Semiotica 2018, no. 221 (March 26, 2018): 199–218. http://dx.doi.org/10.1515/sem-2015-0032.

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AbstractApplying Peirce’s semiotics to the study of art history, this essay explores the order of signification in the Peircean theory and the visual order in Chinese landscape painting. Since the purpose of Chinese landscape painting is not simply to represent the beauty of scenery but to encode and manifest the philosophy of Tao, then, the author argues that the establishment of the encoding mechanism in Chinese landscape painting signifies the origination, development, and establishment of this genre in Chinese art history. In this essay, the Peircean order of signification is described as a T-shaped structure, consisting of a horizontal dimension of signs (icon, index, and symbol) while and a vertical dimension of the signification process (representamen, interpretant, and object). Correspondingly, the visual order in Chinese landscape painting is also described as a T-shaped structure as well: the horizontal dimension at the formal level consists of three signs (mountain path, flowing water, and floating air, the three constitute a compound sign), while the vertical dimension at the ideological level consists of three concepts (the way in nature, the metaphysical Way of nature, and the Tao). The significance of this order is found in re-interpreting the formation of landscape painting in Chinese art history.

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33

Михайлова, Р. Д., and С. С. Кисіль. "ПРО ОБРАЗНО-ЗМІСТОВНІ ДОМІНАНТИ ПЕЙЗАЖНОЇ АЛЕЇ В м. КИЄВІ." Art and Design, no. 3 (December 5, 2019): 97–105. http://dx.doi.org/10.30857/2617-0272.2019.3.10.

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Purpose. An analysis of figurative and informative accents of the Landscape Alley with graphic and design tools in the context of modern improvement of the historical landscape of Kyiv. Methodology. Research was conducted to study the object on the basis of historical and art history, functional, architectural and planning, landscape analysis. For a general assessment of the territory, field surveys, analysis of scientific, journalisticsources and design studies of previous years were carried out. Results. The figurative and meaningful dominants of the Landscape Alley in the historical landscape of Kyiv are determined. The essence and features of art and design tools are revealed during the shaping of its art elements, by combining sculpture with design art. It has been established that the Landscape Alley in Kyiv is an example of a new design thinking of fine art, as an option for designing a recreation zone of a metropolis and is determined by symbiosis: landscape, modern urbanism, traditions of fine art and modern design.Scientific novelty. For the first time, the meaning of the figurative and artistic solution for the arrangement of the Landscape Alley, the product of the collaboration of artists and design, was revealed. As a result, the historical landscape has been turned into a modern gaming, entertaining and comfortable recreational space. The content, role and significance of compositions of park sculptures, art objects of sculptural monumental and decorative plastic in the urban environment are determined.Practical significance. The scientific and practical results of the study can be used in the implementation of landscape-recreational design of urban areas – theme parks, squares, with the development of elements of improvement in them; in computer-aided design of the landscape and the subject environment with it; in the practice of image creation in art and design.

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34

Wen, Xiaojing, and Paul White. "The Role of Landscape Art in Cultural and National Identity: Chinese and European Comparisons." Sustainability 12, no. 13 (July 7, 2020): 5472. http://dx.doi.org/10.3390/su12135472.

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The depiction of landscape in art has played a major role in the creation of cultural identities in both China and Europe. Landscape depiction has a history of over 1000 years in China, whilst in Europe its evolution has been more recent. Landscape art (shan shui) has remained a constant feature of Chinese culture and has changed little in style and purpose since the Song dynasty. In Europe, landscape depictions have been significant in the modern determination of cultural and national identities and have served to educate consumers about their country. Consideration is given here to Holland, England, Norway, Finland and China, demonstrating how landscape depictions served to support a certain definition of Chinese culture but have played little political role there, whilst in Europe landscape art has been produced in a variety of contexts, including providing support for nationalism and the determination of national identity.

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Quinlan, Angus R., and Alanah Woody. "Marks of Distinction: Rock Art and Ethnic Identification in the Great Basin." American Antiquity 68, no. 2 (April 2003): 372–90. http://dx.doi.org/10.2307/3557085.

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Great Basin ethnography contains little information concerning rock art, suggesting that much of it is pre-Numic. The presence of historic rock art, however, should permit differences between pre-Numic and Numic populations to be identified. Anthropological theory suggests pioneer groups use ritual to socialize the landscape. Rock art may also be associated with colonizing groups to secure access to new resources. Numic populations seem to have responded to pre-Numic rock art through modification of the art. Once the landscape had been re-socialized rock art was generally avoided. This explains why rock art production became sporadic, and memory of it lost.

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Purtle, Jennifer. "Whose hobbyhorse now?: A revised Foreword for Chinese Landscape Painting as Western Art History1." Journal of Contemporary Painting 6, no. 1-2 (October 1, 2020): 11–21. http://dx.doi.org/10.1386/jcp_00011_1.

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This article constitutes a new Foreword for James Elkins’s Chinese Landscape Painting as Western Art History. Reflecting on this work a decade after it was first published, this Foreword seeks to position Elkins’s text with respect to current debates about appropriation, decolonization, race, whiteness, privilege and a problematic, colonialist, EuroAmerican notion of ‘the global’. Now the questions I asked ten years ago in response to Elkins’s text are more pressing than ever: how can the history of the art of non-western cultures be figured in their own terms, and how might such a project operate without transposing the object of inquiry entirely into western epistemological frameworks and strategies of academic inquiry? This article seeks to consider how Elkins’s text both de- and re-centres the discipline of art history so that the western tradition alone no longer dominates its master narrative and serves as sole source of its conceptual lexicon. Moreover, this article posits that from Elkins’s text we might contemplate a future in which the western tradition might become marginal within the discipline of art history, its established terms, discourses and practices incommensurate with newly centred analogues drawn from non-western cultures.

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Nelson, Megan Kate. "Tracing Footsteps: Visual Art and the Landscape of the Slave Trade." Reviews in American History 41, no. 1 (2013): 57–61. http://dx.doi.org/10.1353/rah.2013.0000.

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Barnett, Tertia. "Rock-art, landscape and cultural transition in the Wadi al-Ajal, Fazzan." Libyan Studies 33 (2002): 71–84. http://dx.doi.org/10.1017/s0263718900005136.

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AbstractRock paintings and engravings form a significant component of the archaeological record in Libya. Working in tandem with other disciplines, the study of rock-art can help provide a perspective on the past that can not be derived from archaeology alone. Following on from the work of the Fazzan Archaeological Project, recent research in the Wadi al-Ajal has identified a number of previously unrecorded rock-art sites in relation to their physical context, and these are reported here. The engravings display distinct distribution patterns in relation to specific topographic features in the wadi, and these are discussed with particular reference to the Maknusa Pass. Finally, the relationship between the rock-art and the landscape in this region is implicated in cultural development and transition.

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He, Li Bo, and Xing Yao Xiong. "The Landscape Restoration Conception of Yuelu Academy Scenic Zone." Applied Mechanics and Materials 209-211 (October 2012): 405–11. http://dx.doi.org/10.4028/www.scientific.net/amm.209-211.405.

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Yuelu Academy is one of the four most prestigious academies in the history, its architecture part had been reconstructed in 1980’s, but the garden landscape lacked unified design. Nowadays, the garden landscape of academy is losing its poetic imagery gradually. Under the principle of respecting history and spreading garden tradition, the conception of improving landscape axis for the academy and restoring Eight Scenes of Yuelu Academy is proposed for the overall restoration of the academy landscape. It is meaningful for setting a good example for the Chinese classical academy’s garden and replenishing the traditional garden art.

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Tesfamariam, Zbelo, Jan Nyssen, Jean Poesen, Tesfaalem Ghebreyohannes, Kelemework Tafere, Amanuel Zenebe, Seppe Deckers, and Veerle Van Eetvelde. "Landscape research in Ethiopia: misunderstood or lost synergy?" Rangeland Journal 41, no. 2 (2019): 109. http://dx.doi.org/10.1071/rj18060.

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A full understanding of the concept of landscape plays a paramount role in sustainable management of natural resources and an increase of landscape studies. However, little is known about the concept of landscape, landscape research and its application in Ethiopia. Hence, the overall objective of this paper is to explore the concept of landscape and review available literatures on landscape research in Ethiopia and to identify research gaps. A questionnaire (n=30) was administered to explore the concept of landscape. A systematic review of available studies on landscape and related concepts has also been made. Out of the 398 papers in which the terms ‘landscape’ and ‘Ethiopia’ appeared in the title, keywords or abstract, 26 papers, having 10 or more keywords related to landscape research were included in this in-depth review. An exploratory study of art and media has been made to examine the perception of artists on landscapes. The results of the study show that the perception of Ethiopian artists on landscape is highly associated with concept of the landscape. The findings of the survey also reveal that the meaning of the term landscape differs semantically. The findings of the review also indicate that landscape studies carried out in Ethiopia do not fully cover the holistic concept of landscape; as they mostly focus more on physical features of the landscape. Moreover, the interdisciplinary approach that integrates landscape ecology, perception and history, which is important for understanding landscapes and landscape changes, is also lacking. Generally, the concept of landscape seems to be misconceived in most studies undertaken in Ethiopia, mainly because it is interchangeably used with land use and land cover. Hence, there is a need for a better understanding of the concept of landscape and the applications of a holistic landscape approach.

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Hoffman, Robin E., and Rebecca Solnit. "As Eve Said to the Serpent: On Landscape, Gender and Art." Environmental History 7, no. 3 (July 2002): 512. http://dx.doi.org/10.2307/3985923.

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Gregory, Jenny. "Stand Up for the Burrup: Saving the Largest Aboriginal Rock Art Precinct in Australia." Public History Review 16 (December 27, 2009): 92–116. http://dx.doi.org/10.5130/phrj.v16i0.1234.

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The Dampier Rock Art Precinct contains the largest and most ancient collection of Aboriginal rock art in Australia. The cultural landscape created by generations of Aboriginal people includes images of long-extinct fauna and demonstrates the response of peoples to a changing climate over thousands of years as well as the continuity of lived experience. Despite Australian national heritage listing in 2007, this cultural landscape continues to be threatened by industrial development. Rock art on the eastern side of the archipelago, on the Burrup Peninsula, was relocated following the discovery of adjacent off-shore gas reserves so that a major gas plant could be constructed. Work has now begun on the construction of a second major gas plant nearby. This article describes the rock art of the Dampier Archipelago and the troubled history of European-Aboriginal contact history, before examining the impact of industry on the region and its environment. The destruction of Aboriginal rock art to meet the needs of industry is an example of continuing indifference to Aboriginal culture. While the complex struggle to protect the cultural landscape of the Burrup, in particular, involving Indigenous people, archaeologists, historians, state and federal politicians, government bureaucrats and multi-national companies, eventually led to national heritage listing, it is not clear that the battle to save the Burrup has been won.

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Fidler, Luke A. "The Coercive Function of Early Medieval English Art." Radical History Review 2020, no. 137 (May 1, 2020): 34–53. http://dx.doi.org/10.1215/01636545-8092762.

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Abstract This article examines the spectacular representation of confinement in early medieval English sculpture in the context of poems, sermons, and translations. By identifying a series of features that early medieval spectators would have paid special attention to, it shows that sculptors used imprisoned and fugitive figures to craft a discourse about power in the absence of both a strong state and a regime of punitive incarceration. Compelling pictures of prisoners and verbal images of captivity flourished as a kind of carceral imaginary in the public landscape before the carceral state’s rise, as well as licensing forms of community policing in which early medieval subjects were required to participate. As such, these sculptures model a relationship between art and coercive power predicated on historically specific expectations about sculpture’s capacity to instruct and surveil.

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Carlson, Allen. "Is Environmental Art an Aesthetic Affront to Nature?" Canadian Journal of Philosophy 16, no. 4 (December 1986): 635–50. http://dx.doi.org/10.1080/00455091.1986.10717140.

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In this discussion I consider one aesthetic issue which arises from certain intimate relationships between art and nature. The background to these relationships can be traced to the seventeenth and eighteenth centuries. It includes factors of considerable importance in the history of the aesthetic appreciation of nature such as the eighteenth century infatuation with landscape gardening and the continuingly influential role of landscape painting. Here, however, I concentrate on these relationships only as exemplified in a contemporary phenomenon – environmental art. By environmental art I mean both the earthworks and earthmarks of artists such as Robert Smithson, Michael Heizer, and Dennis Oppenheim and certain structures on the land such as those of Robert Morris, Michael Singer, and Christo. Some paradigm cases are Smithson's Spiral Jetty (1970), Heizer's Double Negative (1969-70), Singer's Lily Pond Ritual Series (1975), and Christo's Running Fence (1972-76).

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Long, Ting, and Lu Di Dong. "Analysis of Using West Lake Scenic Spot’s Visual Space as Reference for Xi’an Peach Blossom Lake Scenic Spot." Applied Mechanics and Materials 209-211 (October 2012): 393–96. http://dx.doi.org/10.4028/www.scientific.net/amm.209-211.393.

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China has a long history of art of landscape architecture, which is very broad and profound. The ancient landscape designers left us lots of classic landscape designs. How to develop and innovate when using these classic designs as references is the problem that our modern landscape designers should think about. This article takes an example of Xi’an Peach blossom lake scenic spot’s design, analyzes how to develop and innovate when use West Lake scenic spot as reference, and gives the author’s views of the combination of referencing and innovating in landscape design.

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Piana, Pietro, Ross Balzaretti, Diego Moreno, and Charles Watkins. "Topographical art and landscape history: Elizabeth Fanshawe (1779–1856) in early nineteenth-century Liguria." Landscape History 33, no. 2 (October 2012): 65–82. http://dx.doi.org/10.1080/01433768.2012.739397.

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Piana, Pietro, Charles Watkins, and Ross Balzaretti. "Art and landscape history: British artists in nineteenth-century Val d’Aosta (north-west Italy)." Landscape History 39, no. 2 (July 3, 2018): 91–108. http://dx.doi.org/10.1080/01433768.2018.1534460.

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Smedstad, Deborah Barlow. "LANDSCAPE WITH FIGURES: A HISTORY OF ART DEALING IN THE UNITED STATES. Malcolm Goldstein." Art Documentation: Journal of the Art Libraries Society of North America 20, no. 2 (October 2001): 55–56. http://dx.doi.org/10.1086/adx.20.2.27949161.

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Bibby, Samuel. "‘The Pursuit of Understanding’: Art History and the Periodical Landscape of Late-1970s Britain." Art History 40, no. 4 (August 21, 2017): 808–37. http://dx.doi.org/10.1111/1467-8365.12337.

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Kraus, Brittany. "Art for Everyone?" Theatre Research in Canada 40, no. 1-2 (March 20, 2020): 42–63. http://dx.doi.org/10.7202/1068257ar.

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Founded in 2008 by Shahin Sayadi and Maggie Stewart, the Prismatic Arts Festival is a Halifax-based multidisciplinary arts festival that features the work of Indigenous and culturally diverse artists. This article examines the development of the Prismatic Arts Festival and the ways in which the festival has sought to negotiate, challenge, and transform Halifax’s artistic landscape by creating a model that is locally-grounded, nationally-networked, and fundamentally devoted to advancing the careers and profiles of Indigenous and culturally diverse artists in Nova Scotia and across Canada both within and outside of mainstream performance cultures. As the festival recently celebrated its tenth anniversary, this article traces the history of the Prismatic Arts Festival, its struggles and successes, and the complex negotiations the festival has made and continues to make in order to move toward a future of Canadian theatre in which cultural diversity and inclusivity are the norm, rather than the exception.

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