Relevant bibliographies by topics / Landscape painter

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Landscape painter'

Author: Grafiati
Published: 4 June 2021
Last updated: 18 February 2022

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Journal articles on the topic "Landscape painter"

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

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In her lifetime, US American painter Georgia O’Keeffe (1887–1986) wrote thousands of letters to those closest to her. However, she relied on painting as her primary public voice. This essay takes the form of five letters, composed through posthumanist performative writing,1 addressed to O’Keeffe. I work through the process of experiencing the death of my father in a material landscape as it was painted by O’Keeffe. The southwestern landscapes O’Keeffe painted were the same landscapes in which my father and I negotiated material relations to live a life of what Donna Haraway calls “significant otherness.”2
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Amstutz, Nina. "A Self-Portrait as Landscape Painter: Caspar David Friedrich and Phrenology." Zeitschrift für Kunstgeschichte 79, no. 1 (2016): 72–91. http://dx.doi.org/10.1515/zkg-2016-0005.

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Abstract A Self-Portrait as Landscape Painter: Caspar David Friedrich and Phrenology The article explores a precocious moment of interest in how the brain mediates aesthetic perception. Around 1810, Caspar David Friedrich drew himself with several features that deviate from his earlier self-portraits, including two bumps between the brows at the root of the nose. These cranial protuberances were associated with a cognitive faculty that the phrenologist Franz Joseph Gall insisted is common among landscape painters: Ortssinn, characterized by a heightened ability to remember places and to measure distance and perspective. I argue that Friedrich’s drawing is a self-portrait as landscape painter, where the signifiers of identity are no longer conventional artistic or sartorial attributes but rather the contours of the cranium and, by implication, the fabric of the artist’s mind.
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Wolters, Margreet, and Nicolette Sluijter-Seijffert. "Samenwerking tussen Alexander Keirincx en Cornelis van Poelenburch belicht." Oud Holland - Quarterly for Dutch Art History 122, no. 1 (2009): 14–42. http://dx.doi.org/10.1163/187501709788745120.

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AbstractCollaboration between two painters was a common occurrence in the Netherlands of the seventeenth century. To date, sixteen examples are known to have resulted from the partnership of the Antwerp landscape painter, Alexander Keirincx, and the Utrecht Italianate master, Cornelis van Poelenburch (see appendix). The paintings usually combine a wooded landscape by the hand of Keirincx with a few figures added by Van Poelenburch. Two of the works are signed by both artists, one by Van Poelenburch only, and most of the others by Keirincx alone.A few of these paintings have been analyzed using infrared reflectography, which revealed that Keirincx meticulously executed his underdrawing of the landscape, without any indication for the staffage. Next, Keirincx painted the landscape, sometimes deviating slightly from his preliminary underdrawing. After that, Cornelis van Poelenburch added figures and animals, here and there inserting small brush strokes to the landscape immediately around the figures.Although Van Poelenburch may have included his staffage without consulting Alexander Keirincx, an addition by Keirincx in one of his compositions, seems to indicate a closer contact between the artists. While they lived near each other in Utrecht (1632-1636) and London (1637-1641), their collaboration did not only occur during those years, as can be concluded from two dated works (1629, 1630).A unique instance of their collaboration is the Landscape with Cimon and Iphigenia (Utrecht; replica or copy in Leipzig, figs 17 and 26). IRR analysis unequivocally confirms that the landscape and the figure zone initially were painted by Van Poelenburch, after which Keirincx added the large tree at the left. A differently prepared plank was attached to the lower part, maybe especially for that purpose. The Leipzig version lacks this feature, as well as some minor adjustments to the composition, thus indicating that it was executed after the Utrecht panel.
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Anderson, Heather. "Alexander Nepote: Art Educator and Landscape Painter." Art Education 40, no. 2 (1987): 12. http://dx.doi.org/10.2307/3193063.

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Benkara, Dana Maria. "Restaurarea picturii Peisaj cu biserică, de Ștefan Popescu." Anuarul Muzeului Etnograif al Transilvaniei 30 (December 20, 2016): 267–77. http://dx.doi.org/10.47802/amet.2016.30.14.

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The paper presents some important aspects of the restoration- conservation process of a painted canvas, belonging to Ştefan Popescu, a romanian painter, whose creation, at the beginning of the 20th century, was famous especially through its landscapes. Stylistic and technological aspects of the painting were analyzed. The painting depicts a realistic landscape, with a house and an imposing stone church. A detailed account of the conservation state of the painting prior the restoration was made. The actual restoration process started with the cleaning of the superficial dirt and dust from the back of the painting. After protecting the entire face of the painting (by applying the Japanese paper), the old patch on the back of the painting (covering a small area of torn canvas) was replaced with a new one. The cleaning process (the removal of the light dirt and the old varnish layer) was followed by the filling of all the gaps of the painted layer with putty. The chromatic integration and the final varnishing ended the restoration process of the painted canvas.
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De Kinkelder, Marijke C. "David de Hooch, een I7de-eeuws landschapschilder." Oud Holland - Quarterly for Dutch Art History 110, no. 3-4 (1996): 145–64. http://dx.doi.org/10.1163/187501796x00402.

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AbstractIn I990 two paintings turned up - originally constituting one larger panel, cat. 9a and 9b - which might be attributed to a little-known landscape painter: David de Hooch, active in Amsterdam, possibly Utrecht and perhaps The Hague between I639 and I655, as can be deduced from scant archival data and stylistic afflnities. Doubtlessly influenced by Bartholomeus Breenbergh's works of the I630s, De Hooch painted mainly Italianate landscapes, probably without ever having travelled to Italy himself. Most of the works assembled here were known under different and sometimes unlikely attributions such as Breenbergh, his namesakes and possible relatives Charles and Horatius de Hooch, Willem de Poorter, Anthonie van der Croos, Cornelis Decker and even Aelbert Cuyp. Here, eighteen paintings are presented and catalogued in a provisional chronology: five earlier, clearly somewhat inexperienced works, leaning heavily on examples by other painters (cat. I - 5), are followed by six paintings which show the artist gradually developing his own style (cat. 6 - II). The last seven pictures (cat. I2 - I8) most probably date from De Hooch's mature period, in all likelihood the first half of the I650s. Most of these are fairly large formats, on which the artist achieved quite well-constructed, unified compositions with a convincing atmosphere.
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POŠKAITĖ, Loreta. "The Embodiment of Zhuangzi‘s Ecological Wisdom in Chinese Literati Painting (wenrenhua 文人畫) and Its Aesthetics". Asian Studies 5, № 1 (2017): 221–39. http://dx.doi.org/10.4312/as.2017.5.1.221-239.

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The paper deals with the relation of Daoist (mainly Zhuangzi’s) ecological ideas on inter- penetration and “communication-without-communication” of things to Chinese landscape and bamboo painting, more specifically, to the ideas about the harmonization of the painter with the things (scene) painted in the process of producing the artwork. Its purpose is to explore a more nuanced, philosophical and non-Eurocentric interpretation of this peculiar kind of harmony of things or their “unity in particularity”, as inspired by Zhuangzi’s ideas and seemingly embodied in Chinese literati painting. For this purpose, the paper introduces few conceptual models, formulated by Western sinologists, as the particular philosophical schemes for the understanding of Zhuangzi’s epistemology and cosmology, and then discusses their applicability with regard to the relationships between the painter and the world, as presented in early and classical Chinese painting aesthetics and theory.
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Giometti, Cristiano, and Loredana Lorizzo. "Rondinini paintings rediscovered: A self-portrait by Paul Bril and a ‘witchcraft’ by Pieter van Laer." Journal of the History of Collections 31, no. 2 (2018): 333–41. http://dx.doi.org/10.1093/jhc/fhy031.

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Abstract The Rondinini family is important for having developed a well-defined taste in collecting during the fifteenth to eighteenth centuries, with an interest in ancient sculpture and painting staged in their palaces and villas in Rome and its surroundings. The most eminent artists active in seventeenth-century Rome worked for them. The paintings presented here are the most relevant examples of a great number of works that have re-emerged during a collaborative research project conducted by the universities of Florence and Salerno on the family’s contributions to the history of collecting. The first is a signed self-portrait by the Flemish artist Paul Bril, a pioneer amongst the landscape painters active in Rome between the late 1500s and early 1600s – a work of large size for the artist (110.0 x 81.5 cm); the second is a ‘witchcraft crowded with figures’ painted by Pieter van Laer, an eminent Dutch painter and leader of the group of masters called the ‘Bamboccianti’.
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Sharova, Elena A. "THE ARTIST A. N. MOKRITSKY IN ITALY IN THE 1840S: LANDSCAPE ART EXPERIENCE." Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 58 (2020): 289–99. http://dx.doi.org/10.37816/2073-9567-2020-58-289-299.

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The paper explores the art works of A. N. Mokritsky, the painter who lived in Italy in the 1840s and had a strong passion for landscape painting. Being taught by A. G. Venecianov first and then graduating from the Imperial Academy of Arts under K. P. Bryullov, he himself followed the path of teaching and became an outstanding person in the Russian Art History of the second third of the 19th century. Mokritsky came to be known as a painter of an average talent who didn’t leave a distinctive mark on the national art. However, it was him who as a presumable representative of the artistic milieu became an indicator of the changes taking place in this art environment. The article provides a picture of years Mokritsky spent in Italy which is the most important period of his professional development and a prominent time of the Roman colony of the Russian artists as well. The author considers the artist’s close interaction not only with members of the Russian colony in Rome, but also with representatives of European art schools. Involving of archival materials and literary sources allowed to substantially supplement information about the life and work of Mokritsky during his trip abroad. Upon analysis of a significantly expanded list of landscape works created by the artist in this period, the author identified a number of characteristic features of the Italian landscape of the 40s of the 19th century taking into account the works of other painters.
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Fensham, Rod. "Conrad Martens and the Bush of South-East Queensland." Queensland Review 9, no. 1 (2002): 49–58. http://dx.doi.org/10.1017/s1321816600002737.

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The work of colonial artists has provided precious insights into the nature of the Australian landscape as it was at the time immediately following white settlement. The works of Glover, Lewin and von Guérard, for example, have been employed by historical geographers and have fuelled some fascinating debates about the nature of the landscape as it was under Aboriginal management. Of course, the work of some of these artists forms more faithful historical documentation than that of others. The stylised works of J.S. Lycett, the emancipated convict turned painter, are almost certainly unreliable as accurate landscape documentation, as his criminal conviction for forgery may suggest (Plate 1). It is likely that Lycett never visited some of the locations he painted and much of his work was probably commissioned as immigration propaganda, intended to placate the fears of the Britons equivocating about a move to the awesome and intimidating southern land.
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Dissertations / Theses on the topic "Landscape painter"

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Milette, Nicole. "Landscape-painter as landscape-gardener : the case of Alfred Parsons R.A." Thesis, University of York, 1997. http://etheses.whiterose.ac.uk/2530/.

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Wallersteiner, Anthony. "A Cornish palimpsest : Peter Lanyon and the construction of a new landscape, 1938-1964." Thesis, University of Kent, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.342268.

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Ley, Vicky. "Landscape in the secular paintings of Piero di Cosimo : an aspect of late Quattrocento and early Cinquecento art." Thesis, Birmingham City University, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.289475.

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Martiníková, Zuzana. "Nepříliš známý malíř." Master's thesis, Vysoké učení technické v Brně. Fakulta výtvarných umění, 2014. http://www.nusl.cz/ntk/nusl-232411.

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Master's thesis called Not too well-known painter reacts on art of regional painter Jaromír Martiník. It is an exhibition of the work of this painter. Thanks to the intervention of author of this exhibition brings up his work into unusual context of artist from Beskydy, who is influenced by oriental philosophy.
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Constantin, Stephanie. "The painters of the Barbizon circle and landscape painting : techniques and working methods." Thesis, Courtauld Institute of Art (University of London), 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.289372.

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Sloman, Susan Legouix. "Gainsborough in Bath 1758-1774." Thesis, University of Bristol, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.324365.

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Beyer, Anjelie, and mikewood@deakin edu au. "Our ground : A study of artmaking and landscape in Mildura." Deakin University. School of Social Inquiry, 1999. http://tux.lib.deakin.edu.au./adt-VDU/public/adt-VDU20060831.115529.

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Kowalczyk, Stephanie W. "Beyond the Painted Diary: Love, Loss, and Modernity in the Landscapes of John Singer Sargent." Kent State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=kent1470007149.

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Anderson, Derek T. "Prehistoric rockshelter utilization in the Paint Rock Canyon Archaeological Landscape District." Laramie, Wyo. : University of Wyoming, 2007. http://proquest.umi.com/pqdweb?did=1317324761&sid=1&Fmt=2&clientId=18949&RQT=309&VName=PQD.

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Scalliet, Marie-Odette Payen Antoine. "Antoine Payen peintre des Indes orientales : vie et écrits d'un artiste du XIXe siècle (1792-1853) /." Leyde : Research School CNWS, 1995. http://books.google.com/books?id=f7nZAAAAMAAJ.

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Books on the topic "Landscape painter"

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Higginson, Craig. The landscape painter. Picador Africa, 2011.

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Peter Brook: The Pennine landscape painter. Ryburn Pub., 1992.

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Payne, Christiana. John Brett, Pre-Raphaelite landscape painter. Yale University Press, 2010.

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Constable, the painter and his landscape. Yale University Press, 1986.

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John Brett, Pre-Raphaelite landscape painter. Yale University Press, 2010.

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Flanagan, T. P. (Terence Philip), ed. T.P. Flanagan: Painter of light and landscape. Burlington, VT, 2013.

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Nicholson, William. William Nicholson: Painter : landscape and still life. Towner Art Gallery, 1995.

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McLean, Fred. John Gully, painter: A biography. F. McLean, 2001.

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Jones, Shirley. A quiet painter: James Alfred Turner. S. Jones, 2009.

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Crawshaw, Alwyn. The half-hour painter: Paint a successful landscape in 30 minutes. BCA, 1991.

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Book chapters on the topic "Landscape painter"

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Morelli, Laura. "L’esperienza formativa di Anton Domenico Gabbiani a Venezia. Disegni e dipinti inediti." In Studi e saggi. Firenze University Press, 2020. http://dx.doi.org/10.36253/978-88-5518-181-5.08.

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This paper aims to cast new light on Anton Domenico Gabbiani’s first sojourn in Venice, which took place between 1678 and 1681, by following the two main biographies of the artist, written by Ignazio Enrico Hugford and Francesco Saverio Baldinucci, and by analysing new archival documents. Specific attention is given to the constant study of artworks by the great Venetian masters of the Sixteenth century, especially Titian, to whom Gabbiani devoted himself also in his later years, copying famous masterpieces of the Cadore painter. Through some unpublished drawings of the Uffizi and new or little-known paintings, the Venetian component of Gabbiani’s style is identified in the way of composing and in the execution of airy and light figures. The highlights and intense Venetian colorism contributed to the creation of sophisticated chiaroscuro modulations expressed in the mimetic rendering of animals and landscape settings.
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Tenneriello, Susan. "Immersive Scenes: Visual Media, Painted Panoramas, and Landscape Narratives." In Spectacle Culture and American Identity. Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9781137360625_2.

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Costa, Stéphane. "The High Normandy Chalk Cliffs: An Inspiring Geomorphosite for Painters and Novelists." In World Geomorphological Landscapes. Springer Netherlands, 2013. http://dx.doi.org/10.1007/978-94-007-7022-5_4.

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Jacobs, Leah A., Katherine Katcher, Pascal Krummenacher, and Sonja Tonnesen. "Root & Rebound: An Innovative Program Paints the Reentry Landscape." In Prisoner Reentry. Palgrave Macmillan US, 2016. http://dx.doi.org/10.1057/978-1-137-57929-4_4.

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Stancioiu, Cristina. "On the Painted Ancestry of Domenikos Theotokopoulos’s Sacred Landscapes of Mount Sinai and the Monastery of St Catherine." In Approaching the Holy Mountain. Brepols Publishers, 2010. http://dx.doi.org/10.1484/m.cursor-eb.3.4907.

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"Landscape Painter." In Enough to Say It's Far. Princeton University Press, 2006. http://dx.doi.org/10.1515/9781400827053-013.

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ADDISON, M. "Landscape." In Painter 11 for Photographers. Elsevier, 2009. http://dx.doi.org/10.1016/b978-0-240-52123-7.00008-5.

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Addison, Martin. "Landscape." In Painter 12 for Photographers. Elsevier, 2012. http://dx.doi.org/10.1016/b978-0-240-52271-5.00011-0.

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Addison, Martin. "Landscape." In Painter 11 for Photographers. Routledge, 2013. http://dx.doi.org/10.4324/9780080927077-8.

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Inoue, Mayumo. "On the Form’s Edge." In Beyond Imperial Aesthetics. Hong Kong University Press, 2019. http://dx.doi.org/10.5790/hongkong/9789888455874.003.0008.

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This essay looks at postwar painter Adaniya Masayoshi's abstract landscape paintings of U.S. military bases in Okinawa in the 1960s as well as the painter's own theoretically sophisticated reflections on them. By situating Adaniya's painterly figurations of landscape, military infrastructure, and soldiers' bodies alongside recent Foucauldian and autonomist Marxist analyses of "Okinawa" as an effect and product of global imperial politics, this essay seeks to closely analyse Adaniya's lifelong effort to make visible his torqued forms as a rupturing of the mode of racializing biopolitics in U.S.-occupied Okinawa in the time of the Vietnam War.
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Conference papers on the topic "Landscape painter"

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Li, Yang, and Hai Ping Sun. "Monk-painter - Dan Dang's Different Kinds of Aesthetic Feelings to Landscape Painting." In 2017 International Conference on Innovations in Economic Management and Social Science (IEMSS 2017). Atlantis Press, 2017. http://dx.doi.org/10.2991/iemss-17.2017.105.

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Kang, Dongwann, and Kyunghyun Yoon. "Landscape Painterly Rendering Based on Observation." In 2017 European Conference on Electrical Engineering and Computer Science (EECS). IEEE, 2017. http://dx.doi.org/10.1109/eecs.2017.66.

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Ma, Min. "“Evaluating Painters All Over the Country”: Guo Xi and His Landscape Painting." In 4th International Conference on Art Studies: Science, Experience, Education (ICASSEE 2020). Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200907.013.

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Bos, E., P. van der Jagt, and W. Timmermans. "The landscape as a source of inspiration for painters: paintings as a source of inspiration for land development?" In SUSTAINABLE TOURISM 2008. WIT Press, 2008. http://dx.doi.org/10.2495/st080051.

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Di Gregorio, Giuseppe. "THE TAORMINA THEATER: THE DIGITAL SURVEY SYSTEM OF KNOWLEDGE OPEN IN TIME." In ARQUEOLÓGICA 2.0 - 9th International Congress & 3rd GEORES - GEOmatics and pREServation. Editorial Universitat Politécnica de Valéncia, 2021. http://dx.doi.org/10.4995/arqueologica9.2021.12168.

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In Sicily there are 19 show venues including ancient theaters and theatrical architectures. Many of these structures are fully functional and subject to visitor flows such as the theater of Syracuse and that of Taormina. They are object of interest and curiosity, revealed in the eighteenth century during the grand tour by travelers and landscape painters, in the last twenty years they have become reasons for study in various scientific areas as from acoustics to archeology, always passing through digital surveying. Studied through classical photogrammetry, structure from motion (SFM), 3D laser scanner, their representation as well as by increasingly refined and detailed two-dimensional graphics, makes use of 3D representations and techniques of virtual reality (VR) and augmented reality (AR). Due to their particular geometry, the need for studies and research is considered essential to deepen the methods of the surveys and plan their developments. Examples and problems for the archaeological survey are reported with the aim of critically evaluating the current state of the art of 3D survey, the potential and possible future developments, in the present study the results obtained for the survey of the Taormina theater (ME) and in-depth analysis of the versure environments.
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Dvořák, Pavel, Eduard Eiben, Robert Ganian, Dušan Knop, and Sebastian Ordyniak. "Solving Integer Linear Programs with a Small Number of Global Variables and Constraints." In Twenty-Sixth International Joint Conference on Artificial Intelligence. International Joint Conferences on Artificial Intelligence Organization, 2017. http://dx.doi.org/10.24963/ijcai.2017/85.

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Integer Linear Programming (ILP) has a broad range of applications in various areas of artificial intelligence. Yet in spite of recent advances, we still lack a thorough understanding of which structural restrictions make ILP tractable. Here we study ILP instances consisting of a small number of ``global'' variables and/or constraints such that the remaining part of the instance consists of small and otherwise independent components; this is captured in terms of a structural measure we call fracture backdoors which generalizes, for instance, the well-studied class of N-fold ILP instances. Our main contributions can be divided into three parts. First, we formally develop fracture backdoors and obtain exact and approximation algorithms for computing these. Second, we exploit these backdoors to develop several new parameterized algorithms for ILP; the performance of these algorithms will naturally scale based on the number of global variables or constraints in the instance. Finally, we complement the developed algorithms with matching lower bounds. Altogether, our results paint a near-complete complexity landscape of ILP with respect to fracture backdoors.
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