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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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McShea, Megan. "A Painter Writes a Landscape: Arthur Dove's Prose Poem." Archives of American Art Journal 47, no. 1/2 (2008): 24–29. http://dx.doi.org/10.1086/aaa.47.1_2.25435145.
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Duparc, F. J. "Philips Wouwerman, 1619 - 1668." Oud Holland - Quarterly for Dutch Art History 107, no. 3 (1993): 257–86. http://dx.doi.org/10.1163/187501793x00018.
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AbstractPhilips Wouwerman(s) was undoubtedly the most accomplished and successful Dutch painter of equestrian scenes in the 17th century. Even so, neither a critical study of his work nor a documented biography has been published. The present essay not only presents the results of archive research but also outlines his artistic development. Besides the seven dated pictures by the artist known by Hofstede de Groot, several others have been discovered. Wouwerman was born in Haarlem, the eldest son of the painter Pouwels Joosten and his fourth wife, Susanna van den Bogert. Two other sons, Pieter and Johannes Wouwerman, were also to become painters. Wouwerman's grandfather originally came from Brussels. Philips probably received his first painting lessons from his father, none of whose work has been identified however, making it impossible to determine the extent of his influence on the son's work. According to Cornelis de Bie, Wouwerman was next apprenticed to Frans Hals. He is subsequently reputed to have spent several weeks in 1638 or 1639 working in Hamburg in the studio of the German history painter Evert Decker. In Hamburg he married Annetje Pietersz van Broeckhof. On 4 September 1640 Wouwerman became a member of the Haarlem painters' guild, in which he held the office of vinder in 1646. In the following years his presence in Haarlem is mentioned repeatedly. In view of the many southern elements in his landscapes it has frequently been suggested that Wouwerman travelled to France or Italy. However, there is no documentary evidence of his having left Haarlem for any length of time. Wouwerman died on 19 May 1668 and was buried on 23 May 1668 in the Nieuwe Kerk in Haarlem. He evidently attained a certain degree of prosperity, going by the relatively large sums of money each of his seven children inherited on his widow's death in 1670 and by the various houses he owned. No confirmation can be found of Arnold Houbraken's often quoted remark that Wouwerman's daughter Ludovica brought a dowry of 20,000 guilders with her in 1672 when she married the painter Hendrik de Fromantiou (1633/34 - after 1694). Wouwerman's oeuvre consists mainly of small cabinet pieces with horses, such as battle and hunting scenes, army camps, smithies and interiors of stables. He also painted sensitively executed silvery-grey landscapes, genre pieces and a few original representations of religious and mythological scenes. Wouwerman was also exceptionally prolific. Although he only lived to the age of 48, more than a thousand paintings bear his name. Even when one bears in mind that a number of these paintings should actually be attributed to his brothers Pieter and Jan, Philips left an extraordinarily large oeuvre. Only a small number of drawings by his hand are known. His pupils include Nicolaes Ficke, Jacob Warnars, Emanuel Murant and his brothers Pieter (1623-1682) and Jan Wouwerman (1629-1666). He had many followers and his paintings were much sought after in the i8th and early 19th centuries, especially in France. Important collections created during that period, including those which form the nuclei of the museums in St Petersburg, Dresden and The Hague, all contain a large number of his works. Establishing a chronology with respect to Philips Wouwerman's work is extremely problematic. His extensive oeuvre notwithstanding, only a comparatively small number of paintings are dated. The style of the signature enables us to date pictures only within wide margins: the monogram composed of P, H, and W was only used before 1646; thenceforth he used a monogram composed of PHILS and W. Wouwerman's earliest dated work, of 1639 (sale London, Christie's, October 10, 1972), is of minor quality. However, during the 1640s his talents improved rapidly. During that period he was strongly influenced by the Haarlem painter Pieter van Laer (1599 - after 1642) with respect to both style and subject matter. This tallies with Houbraken's remark that Wouwerman laid his hands on sketches and studies by Van Laer after that artist's death. Van Laer's influence is evident in Attack on a Coach, dated 1644, in the collection of the Prince of Liechtenstein, Vaduz. Several figures and details are quotations from works by Van Laer. Most of Wouwerman's compositions of the mid-1640os are dominated by a diagonally placed hill or dune covering most of the horizon, a tree - often dead - as a repoussoir and a few rather large figures, usually with horses. Landscape with Peasants Merrymaking in front of a Cottage in the City Art Gallery, Manchester, Battle Scene in the National Gallery, London and Landscape with a Resting Horseman in the Museum der Bildcnden Künste, Leipzig, all dated 1646, are proof that Wouwerman gradually developed his own style; nonetheless, Van Laer continued to be an important source of inspiration. As demonstrated by the four known dated paintings of 1649, the artist had replaced his sombre palette for a more colourful one by that time, and had also adopted a predominantly more horizontal scheme for his compositions. During that same period Wouwerman' pictures came to reflect a growing interest in landscape, and in the first half of the 1650s he produced a number of paintings which bear witness to his mastery of the landscape idiom. In a Landscape with Horsemen, of 1652, in a private British collection, painted in silvery tones, the figures and horses are reduced to a fairly insignificant staffage. Genre elements continued to play an important role in most of his paintings, though. One of his most successful works of that period is the Festive Peasants before a Panorama, dated 1653, in the Minneapolis Institute of Arts. Perhaps nowhere else in his oeuvre did the artist succeed in producing such a happy synthesis of genre and landscape elements. In the second half of the 1650s Wouwerman painted many of the fanciful hunting scenes - often with a vaguely Italian setting and brighter local colours - which were particularly sought after in the 18th and early 19th centuries. Only a few dated works from the last decade of his life have been preserved, but they do show a tendency towards more sombre colours and suggest a slight decline in his artistic skills. Van Laer's stylistic influence on Wouwerman had almost disappeared by then, although it continued to play a major role in terms of subject matter. After the middle of the 19th century Wouwerman's popularity waned, but more recently his work has met with increasing acclaim.
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Caccia, Angela. "Moses Tladi (1906–1959): South Africa's First Black Landscape Painter?" de arte 28, no. 48 (1993): 3–22. http://dx.doi.org/10.1080/00043389.1993.11761164.
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Aira, C. "FROM AN EPISODE IN THE LIFE OF A LANDSCAPE PAINTER." Common Knowledge 12, no. 2 (2006): 323–43. http://dx.doi.org/10.1215/0961754x-2005-019.
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Bok, Marten Jan, and Marcel Roethlisberger. "Not Adriaen Bloemaert but Abraham Blommaert (of Middelburg), Landscape Painter." Oud Holland - Quarterly for Dutch Art History 110, no. 1 (1996): 12–34. http://dx.doi.org/10.1163/18750176-90000184.
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Elinson, Ulyana V. "“Picturesque Travel from Moscow to Chinese Border,” or Graphic Albums of Travel Sketches by Andrei Martynov." Observatory of Culture, no. 6 (December 28, 2014): 77–83. http://dx.doi.org/10.25281/2072-3156-2014-0-6-77-83.
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Considers the history of designing travel albums by the famous Russian landscape painter Andrei Martynov (1768-1826) during his trip of 1805 to Beijing with the Russian diplomatic mission of Count Yury Golovkin.
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de Kinkelder, Marijke C. "De korte loopbaan van Nicolaes Berchem de Jonge." Oud Holland - Quarterly for Dutch Art History 123, no. 2 (2010): 125–32. http://dx.doi.org/10.1163/003067212x13397495480907.
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AbstractIt is virtually unknown that the famous painter from Haarlem, Nicolaes Pietersz Berchem (1620-1683), had a namesake son who was also a painter. This is evident from the signature 'd'Jonge Berchem' ('The Young Berchem'), displayed on the painting Zuidelijk landschap met door een rivier trekkende herders en hun dieren, (Southern landscape with shepherds crossing a river with their cattle) (fig. 2). Nicolaes de Jonge was born in 1649 in Haarlem and died at the age of 22 in Paris. He was undoubtedly educated by his father though both his grandfathers, Pieter Claesz (1597/1598-1660) and Jan Wils (1603-1666), may also have contributed to his artistic education. His father's influence is clearly identifiable in his paintings as he made a number of citations from his work. This article reconstructs the life and work of the young artist, who died an untimely death.
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Župan, Ivica. "Majstor mirenja, spajanja i kombiniranja suprotnosti." Ars Adriatica, no. 2 (January 1, 2012): 257. http://dx.doi.org/10.15291/ars.454.
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Igor Rončević has been painting for a very long time with the consciousness that his painterly signature can be constructed from a series of disparate fragments, and so his collage paintings are composed of elements or stylistic details thanks to which his canvas has become a place where ambivalent worlds meet - an ntersection of their paths. Rončević is therefore, a painter of ludic individualism, but, at the same time, painter with wide erudition and above all, a curious pirit, who, in a unique way - in different clusters of itations - applies and joins together experiences from he entire history of art. In his works we have for some ime observed the meetings of some of at first sight rreconcilable contrasts - the experiences of Pop art, European and American abstraction, experiences of gestural and lyrical provenance, different traces and tyles of figuration... All this heterogeneous material has been relativized in his interpretation, often even in blasphemous combinations; in a conspicuously easy and organic way, these combinations merge into a unique whole consisting of forms and meanings which are difficult to decipher. Analysis of Rončević’s paintings reveals the absence of a specific rational system that accumulates the building blocks of a painting - a mental landscape - but not the absence of a peculiar talent for creating compositional balance in a painting.The basic building block in the cycle Dulčić’s fragments is the line - stripes, that is linear, ribbon-like shapes, curved lines which meander on the surface of the canvas, and in the painted area, lines freely applied with a finger in fresh paint. The basic ludic element is colour, and the cartography of the canvas is a road with innumerable directions. The painter, treating the surface of the canvas as a field of total action, creates networks of interlacing multicoloured verticals, lively blue, blue-green and brown hues, coloured without an apparent system or principle, and also of varying width but, despite the seemingly limited starting points of his painting, he creates situations rich in interesting shifts and intriguing pictorial and colouristic happenings. The painter’s main preoccupation is the interaction of ‘neon’ colours (obviously a reference to the twentieth-century’s ‘neon’ enthusiasts), which has been achieved with a simple composition consisting of a knot of interwoven ribbons of intense colours which belong to a different chromatic register in each painting. Streams of complementary or contrasting colours, which spread out across the painted field like the tributaries of a river, subject to confluence, adopting features of the neighbouring colour, sharing the light and darkness of a ‘neon’. Although the impression implies the opposite, the application of colours, their touching and eventual interaction are strictly controlled by the skill of a great colourist. Dulčić’s fragments display Rončević’s fascinating power of unexpected associative perception. The painter now reaches for the excess of colour remaining on his palette from the work on previous paintings. He applies the colour to the canvas with a spatula in a relief impasto, and he revives the dried background with a lazure glaze of a chosen colour. On a saturated but still obviously ‘neon’ grid, the painter - evenly, like a collage detail - applies islands of open colour on the surface of the painting, which he finally paints with a brush, applying vertical white lines over the colour. These shapes of an associative and metaphorical nature are an integral part of the semantic scaffolding of composition but, without particular declarative frameworks and associative attributes, we can never precisely say what they actually represent although they are reminiscent of many things, such as seeds, bacteria, cellular microcosm, unstable primitive forms of life, the macrocosm of the universe, the structures of crystals, technical graphs, calligraphy, secret codes... The linear clarity of the drawing makes motifs concrete and palpable, possessing volume, in fact, possessing bulging physicality. In new paintings, the personal sign of the artist, which arrived in the painting from the activity of the conscious and the unconscious, has been replaced with small shapes, most similar to an oval, which look like separate pieces attached to the surface of the painting and which are reminiscent of specific painterly and artistic tendencies. Their monochrome surfaces are filled with verticals which are particles of the rational or, to put it better, from the constructivist stylistic repertoire, reminiscent, for example, of Daniel Buren’s verticals. Two divergent components - the abstract and the rational - stylistically and typologically separate, but chronologically parallel - pour into an evocative encounter which reveals a nostalgia towards two-dimensional painting. Experiences of posters and graphic design, gestural abstraction, abstract expressionism, lyrical abstraction and everything else that can be observed in this cycle of paintings are a homage to global modern painting, while the islands on the paintings pay tribute to the constructivist section of the twentieth-century avant-garde. The contents of Rončević’s paintings are also reminiscent of the rhythmicality of human figures in Dulčić’s representations of the events on Stradun, town squares, beaches, dances... In addition, to Rončević, as a Mediterranean man - in his formative years - Dulčić was an important painter and, if we persist in searching for formal similarities in their ‘handwritings’, we will find them in the hedonism of painterly matter and the sensuality of colour, luxuriant layers, the saturation of impasto painting, gestural vitality, but mostly in the Mediterranean sensibility, the Mediterranean sonority of colour, their solarity, the southern light and virtuosity of their metiérs. Like Dulčić, Rončević is also re-confirmed as a painter of impulses, of lush, luscious and extremely personalized matter, of layers of pigments, of vehement and moveable gestures, of fluid pictorialism…* * *Let us also say in conclusion that Rončević does not want to state, establish or interpret anything but to incessantly reveal possibilities, their fundamental interchangeability and arbitrariness, and following that, a general insecurity. With the skill of an experienced master painter, he also questions relationships with eclecticism and the aesthetics of kitsch; for example, he explores how far a painter can go into ornamentalization, decorativeness and coquetry without falling into the trap of kitsch but to maintain regularly the classy independence of a multilayered artifact and to question the very stamina of painting. He persistently reveals loyalty to the traditional medium of painting, the virtuosity of his métier and a strong individual stamp, strengthening his own position as a peculiar and outstandingly cultivated painter, but he also exhibits the inventiveness which makes him both different and recognizable in a series of similar painting adventures.
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Daria D., Kolpashnikova. "Towards the Attribution of Two Landscapes from the Pinacoteca Nazionale (Siena): Sassetta as a Landscape Painter." Actual Problems of Theory and History of Art 7 (2017): 516–21. http://dx.doi.org/10.18688/aa177-5-52.
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Savițkaia-Baraghin, Iarîna. "5. The Basic Principles of The Working Process From Nature and the Role of Composition in Creating Landscape in Terms of Plein-Air." Review of Artistic Education 14, no. 1 (2017): 159–65. http://dx.doi.org/10.1515/rae-2017-0021.
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Abstract Principles of possession of the landscape painting, applied by masters of the past, as well as theoretical elaborations of scientists in the field of chromatics, psychology and pedagogy of arts, become important components in improving training methods of artists in plein-air in contemporary conditions. The skills and knowledge gained in the process of pleinair studies form professional skills and improve the properties of painting and composition within the workshop. This studying outlines the stringency of training and development methods of creative individuality, especially in plein-air, where the principal teacher is the nature. The plein-air enriches color perception of the real world, located in the air, and mutual relationship of landscape with architecture and space determines knowledge of the issues of proportionality and subordination in compositions, educates sense of proportion and artistic taste. Improving visual mastery into the natural environment contributes to the formation to painters of the necessity to create outside the workshop, which is a necessary condition for the development of individuality and professional skills of the painter.
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GEYİK, Nazlı Ece, and Musa BİLİK. "HATİCE SULTAN (NEŞETÂBÂD) SARAYI GRAVÜRÜ ÖRNEKLEMİNDE DEĞİŞEN İSTANBUL KÜLTÜRÜ." IEDSR Association 6, no. 12 (2021): 87–106. http://dx.doi.org/10.46872/pj.267.
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The fact that the Ottoman Empire was an exotic and mysterious Eastern country has been an important issue that has great meaning for Western orientalist engraving artists. The natural landscape, topographic image, mosques, palaces, daily life and the Bosphorus of Istanbul which is the capital of the Empire, were important elements that lived in the engravings of many painters. After going to Europe, many of these painters turned their paintings into an album with the technique of Engraving. These albums have survived to the present day as a historical document introducing the socio-cultural life of the Ottoman Empire. 18. in the century, Sultan III. During Selim's period, there were serious changes and transformations in the cultural sense. During this period, the Ottoman palace opened its doors to Western artists, and a culture that developed under the influence of the West began to gain a place, especially in Istanbul. In this article, after briefly mentioning the history of Engraving art, information is given about the life of the Orientalist Painter Melling, who grew up under the influence of the Renaissance period in Europe and turned his face to the East. After mentioning the artist's work as a painter and architect in Istanbul, his relationship with Hatice Sultan, the sister of Sultan Selim III, and the dimensions of this relationship were evaluated. It is aimed to examine the change and transformation of the palace and the socio-cultural structure of the period through the Neşetabad Palace engraving made by Melling.
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Vermeren, Karen. "City in Reverse: Paintings on Plastics." Forum+ 26, no. 1 (2019): 14–21. http://dx.doi.org/10.5117/forum2019.1.verm.
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Abstract De kalksteenmijn Rüdersdorf vlakbij Berlijn voorziet de hoofdstad van steen die omgezet wordt in mortel, cement en beton. Het geologisch landschap vormt zo de basis van de stad waarbij de grondstoffen worden opgenomen in cartografieën. De stenen passeren de afbakeningen van de site en verplaatsen zich via constructies, ladders en netten om zich te nestelen in het nieuwe grid van de stad. In haar onderzoek stelt schilder Karen Vermeren de traditionele opvattingen van landschapsschilderkunst ter discussie. Haar werk zoekt naar nieuwe representaties van het geologisch landschap in tweedimensionaal in-situ installaties. The limestone quarry at Rüdersdorf close to Berlin provides the capital with stone that is then transformed in mortar, cement and concrete. In this way the geological landscape forms the basis of the city, with the raw materials being absorbed into cartographies. The stones pass the boundaries of the site and move via structures, ladders and nets to settle into the new grid of the city. The painter Karen Vermeren uses her research to question traditional ideas about landscape art. Her work seeks new representations of the geological landscape in two-dimensional in-situ installations.
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Scheiber, Laura, and Amanda Burtt. "Archaeology and Social Geography in the Sunlight Basin, Wyoming." UW National Parks Service Research Station Annual Reports 37 (January 1, 2014): 85–96. http://dx.doi.org/10.13001/uwnpsrc.2014.4053.
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Painter Cave (48PA3288) is a dry rockshelter in the foothills of the Absaroka Mountains of northwestern Wyoming that has deeply stratified deposits. Archaeological materials were disturbed several decades ago by looters, who reportedly took a number of perishable Native American artifacts including moccasins and a cradle board, as well as numerous other unidentified objects. Preliminary assessment by Shoshone National Forest Service personnel in 2011 suggested that the site might still be partially intact. Indiana Universityâs Bighorn Archaeology project conducted a pilot study at Painter Cave and the surrounding area in 2014 in an effort to identify and recover any additional cultural deposits. Artifact recovery addressed local landscape use, cultural chronology of the area, subsistence strategies, and environmental conditions. The looter activity unfortunately proved to be extensive. Although team members identified numerous archaeological signatures at different sites in the study area, primary deposits in the shelter itself were disturbed in such a way that investigation into the use of Painter Cave by past peoples was challenging.
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Яйленко, Евгений Валерьевич. "Topographical views vs landscape: “The New Rome. The Castle of St. Angelo” by Sylvestr Shchedrin." Искусство Евразии, no. 2(17) (June 27, 2020): 99–115. http://dx.doi.org/10.25712/astu.2518-7767.2020.02.006.
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В статье творчество великого русского художника, крупнейшего представителя романтизма Сильвестра Шедрина впервые рассмотрено в контексте сложных процессов, проходивших в европейской пейзажной живописи первых десятилетий XIX века. В качестве основного предмета исследования выбрана эволюция в его искусстве стилистических форм так называемой «видописи», разновидности пейзажа, связанной с показом конкретных природных или архитектурных достопримечательностей. Объектом исследования служат картины с изображением классических и современных зданий Рима, выполненные художником в первые римские годы. Основную задачу составляет показ того, как соприкосновение с практикой пленэрной живописи и применение стилистических приемов идеального пейзажа содействовали формированию в его искусстве новых форм ландшафтного изображения, своеобразие которых показано на примере серии картин «Новый Рим. Замок Святого Ангела». This article deals with the works of the great Russian Romantic painter Sylvestr Shchedrin. These works are for the first time investigated on the background of the broad tendencies, which took place in the development of the landscape in the European Romantic painting in the first half of the 19th century. The main subject of this article is the evolution of some basic schemes and stylistic features, which were used in the tradition of topographic views, dealing with the depiction of architecture and natural landscapes. It treats some paintings in which Russian painter depicted famous views of ancient and modern Rome. The author of the article triesto show how the development of plain-air painting practice and the use of the stylistic forms borrowed from the tradition of ideal landscape transforms the very practice of topographic views, which could be seen on the example of the paintings, which form the coherent series and named “The New Rome. The Castle of St. Angelo”.
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Kaplan, Cora. "BLACK FIGURES/ENGLISH LANDSCAPE." Victorian Literature and Culture 27, no. 2 (1999): 501–5. http://dx.doi.org/10.1017/s1060150399272130.
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IN ONE OF HIS LAST CANVASES — worked on for some six years and unfinished at his death — the distinguished genre and landscape painter, William Mulready (1786–1863), famous for his depiction of children and childhood, produced one of the most resonant and complex images of race and Empire of the mid-nineteenth century.1 Titled The Toy Seller and set in an emblematic rural landscape, it displays a mother holding a child of between one and two years old, while a kneeling pedlar respectfully proffers a rattle from a basket of similarly humble toys (Figure 19). The infant, however, perversely refuses to be tempted. Its body and gaze are turned awkwardly away from the toy seller, its shrugged shoulders and unhappy expression graphically suggest the unease provoked by the stranger’s importunities, or perhaps merely his presence. Meanwhile the mother’s look is turned with gentle concern on the distressed child. The pedlar too looks towards the baby with a still amd practiced watchfulness, as if waiting for the mother to coax the child into a more receptive mood. The toy seller is black; the mother and child are white.
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Śnieżyńska-Stolot, Ewa. "Maksymilian Cercha malarz Tatr. Z cyklu „Zapomniani mieszkańcy Krakowa”." Rocznik Biblioteki Naukowej PAU i PAN 65 (2020): 131–39. http://dx.doi.org/10.4467/25440500rbn.20.009.14168.
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Maksymilian Cercha a Painter of the Tatras. From the “Forgotten Citizens of Kraków” Series Maksymilian Cercha (1818–1907), whose life was linked to Kraków, was born in an assimilated Italian family and is known as a drawer, cataloguer of gravestones in the churches of Kraków and a co-author of a publication titled the Monuments of Kraków. In this paper however, his Tatra-themed paintings are discussed, which are yet to be included in the Art History. Cercha was Jan Nepomucen Głowacki’s student, who established Tatra mountains themed landscape painting in Kraków. In the summertime, he used to take his students to the Tatra mountains where he would rent an inn in Stare Kościelisko for an atelier. Cercha painted his Tatra landscapes in the period from 1849 to 1860. These are: –– Morskie Oko, oil on cardboard (31 x 23 cm), 1849; –– View from Mała Łąka, oil on canvas (38 x 31 cm), 1853; –– Mill in Chochołów, oil on cardboard (22 x 28 cm), 1853; –– Sucha Woda Valley as seen from Brzeziny, oil on cardboard (32 x 26 cm), 1857; –– View of the Giewont mountain, oil on cardboard (23 x 30 cm), c. 1860; –– “Carpathians”, watercolour (22 x 14), 1860. Except View from Mała Łąka, held by the Tatra Museum in Zakopane, all pictures belong to the family. Moreover, there are three pencil on paper drawings depicting Zakopane and Hamry from the period of 1855–1857 held by the National Museum in Kraków. Cercha, modelling on Głowacki, used to oil paint on cardboard by firstly sketching on location and then finishing the picture back in Kraków. He used to replicate the themes drew out by Głowacki, such as the view of Morskie Oko lake. He continued the Cracovian tradition of Tatra landscape painting, whic, thanks to Głowacki, Franz Steinfeld the Younger’s student, derives from the Austrian landscape painting of Biedermeier period.
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Koedam, Nico, Farid Dahdouh-Guebas, Roberto Lima Barcellos, and Tom Van der Stocken. "Mangroves – Captured By The Keen Eye Of A 17th Century Landscape Painter." Dutch Crossing 41, no. 3 (2016): 247–63. http://dx.doi.org/10.1080/03096564.2016.1246166.
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Higuchi, R., H. Sugawara, and M. E. Gülyaz. "PHOTOGRAMMETRY USING VIRTUAL RESTORATION OF WALL-PAINTINGS OF THE ROCK-HEWN CHURCHES IN THE GÖREME VALLEY, CAPPADOCIA AND ITS VALUE FOR THE MUSEUM’S CONTENTS." ISPRS Annals of Photogrammetry, Remote Sensing and Spatial Information Sciences IV-2/W6 (August 21, 2019): 83–89. http://dx.doi.org/10.5194/isprs-annals-iv-2-w6-83-2019.
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<p><strong>Abstract.</strong> Göreme Valley located in the center of Cappadocia, Turkey is famous for its spectacular landscape characterized by erosion. There are more than one hundred rock-hewn churches in Göreme Valley and some of them have distinct wall-paintings in the Byzantine style. Although a significant place for Byzantine art many of the churches here are at risk of collapse due to erosion. Furthermore there is no comprehensive documentation of the churches concerning both the wall-paintings and their three-dimensional shapes This paper aims: 1) to present two kinds of virtual restoration using 3D-modeling by photogrammetry, virtual toning and virtual restoration, based on Göreme Valley's special context, in which many churches were painted by the same painter/workshop; 2) to discuss the value of the use of 3D-modeled materials as a museum exhibition.</p>
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Both, Mária Gabriella. "Mozaikok a tájfestészet és a geográfia kapcsolatából." Kaleidoscope history 11, no. 22 (2021): 379–88. http://dx.doi.org/10.17107/kh.2021.22.379-388.
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At the turn of the 18th and 19th centuries, natural sciences supported and drove economic development in a previously not experienced way. Europe created a new “mental image” of nature, scientific ideas with a newly emerging confidence while combining theoretical and practical researches. The Age of Enlightenment is best characterized by A. Humboldt’s discovery travels. The utilitarian approach of the age radically changed the relationship between landscape and people, first in the English speaking countries. This study endeavours to present the interrelations of men and landscape through the changes in landscape painting at the beginning of the 19th century while emphasizing the earlier definition of the geographic environment and indicating geography as an heir of the landscape painting. John Constable broke with the tradition of academic painting and found the idyllic landscape in rural England. In the New World, landscape painting used the European traditions, exemplified by the works of Thomas Cole, the first major American landscape painter. His iconic painting ’Oxbow’ followed the patterns of the traditional European landscape imaging, indicating ideas of the Sublime and the Beautiful of Poussin’ works.
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Schmidt, Benjamin. "'O fortunate land!' : Karel van Mander, 'A West Indies Landscape', and the Dutch discovery of America." New West Indian Guide / Nieuwe West-Indische Gids 69, no. 1-2 (1995): 5–44. http://dx.doi.org/10.1163/13822373-90002643.
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Looks at the presence of America in early Dutch visual paintings and prints, and the significant role in interpreting Americana played by Karel van Mander. Van Mander was a 16th-c. art historian, painter, poet, and translator. Van Mander's notes reveal a number of developments in Dutch perceptions of the New World and how pervasive incidental Americana had become by the late 16th c.
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Lin, W. X. "Russian Landscape in the Life and Work of the Chinese Painter Zhang Huaqing." Университетский научный журнал, no. 49 (2019): 117–24. http://dx.doi.org/10.25807/pbh.22225064.2019.49.117.124.
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Wilson, Peter. "Reasons to Travel to Italy (part one), under the Telefonino." Constelaciones. Revista de Arquitectura de la Universidad CEU San Pablo, no. 1 (May 2013): 23–39. http://dx.doi.org/10.31921/constelaciones.n1a1.
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Hacker’s Telefonino is a speculative dialogue between the three figures in the 1782 painting of an erupting Etna by the Italian based, German Neoclassical landscape painter Jacob Philip Hackert. The other two are English, Charles Gore and Richard Payne Knight, grand-tourists who subsequently play significant roles in trans-European networks and the English landscape movement, the emergence of subjective perception: the Picturesque. The text oscillates between the art historical exactitude of its biographi-cal notes, and the fictionality of the pictures subject, and a further fictio-nality manifested by the trans-historical mobile telephone, enigmatically hovering like a techno-Holbein in the pictures foreground.
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Davidson, Jonathan RT. "Ralph Albert Blakelock (1847–1919): Psychiatric hospitalization and the abduction of an American landscape artist." Journal of Medical Biography 25, no. 1 (2016): 34–42. http://dx.doi.org/10.1177/0967772015583444.
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Ralph Blakelock was a leading American landscape painter. Much of his life was lived in obscurity and destitution. He developed late onset paranoid schizophrenia, resulting in prolonged hospitalization. During his time in hospital, demand for Blakelock’s works grew, but he was unable to enjoy any of this success. Instead, the artist fell prey to unscrupulous and unlikely exploitation by a self-appointed guardian, aided and abetted by Blakelock’s psychiatrists, which broke his spirit and may well have hastened his demise.
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Sinclair, Rolf. "Howard Russell Butler: Painter Extraordinary of Solar Eclipses." Culture and Cosmos 16, no. 1 and 2 (2012): 345–55. http://dx.doi.org/10.46472/cc.01216.0255.
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Howard Russell Butler (1856-1934) was a successful landscape and portrait painter who discovered a rare talent for seeing an image briefly and then painting it from memory and a few notes. He originally studied physics at Princeton, worked in the nascent telephone industry, and then practiced law. His avocational interest in painting grew until, at age 28, he made the decision to become a professional artist. He sometimes used his unusual talent to quickly sketch transient phenomena (or a busy patron) and then later finish the painting. Since colour photography was then unable to capture the phenomena visible only during a total solar eclipse, Butler was commissioned to capture the nuances and colours of the solar corona and prominences in the precious seconds of several eclipses. His paintings became astronomical classics. He went on to paint other astronomical themes (such as Mars seen from its Moon and design a museum’s Ideal Astronomic Hall, using the astronomical knowledge of his day. Although these scientific works were only a small part of his oeuvre, they mark him as one who uniquely brought together art and astronomy. This talk will show the range of Russell’s works and describe his unusual techniques.
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Bolt, Barbara. "Shedding Light For The Matter." Hypatia 15, no. 2 (2000): 202–16. http://dx.doi.org/10.1111/j.1527-2001.2000.tb00323.x.
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This paper critiques enlightenment notions of representation and rehearses an alternative model of mapping that is grounded in performance. Working from her own practice as a landscape painter, Bolt argues that the particular experience of the “glare” of Australian light fractures the nexus between light, form, knowledge, and subjectivity. This rupture prompts a move from shedding light ON the matter to shedding light FOR the matter and suggests an emergent rather than a representational practice.
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De Fouw, Josephina, and Ige Verslype. "Aeneas and Callisto." Rijksmuseum Bulletin 67, no. 3 (2019): 196–215. http://dx.doi.org/10.52476/trb.9730.
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The Rijksmuseum has in its collection an oil sketch by Jacob de Wit (1695-1754) of a design for a ceiling painting. This ceiling painting – The Apotheosis of Aeneas – was commissioned by Pieter Pels (1668-1739) for his house at number 479 Herengracht, Amsterdam. The present article identifies the room for which the work was made. The ceiling painting proves to have been part of a larger painted ensemble by Jacob de Wit and the landscape painter Isaac de Moucheron (1667-1744). On the basis of De Wit’s sketches, records in the archives and research on site, a picture of the way this painted room looked in Pels’s day is built up. The later fortunes of the room are also explored. At the end of the nineteenth century the ceiling painting was replaced by another one, also by De Wit. As a result of this very curious switch, the present ceiling painting is no longer an original whole, but a composite hybrid. All the other interior paintings vanished from the room long ago. Three of them, a chimney-piece and two overdoors by De Wit, have been traced to Russia. Three previously unknown paintings have now been added to the artist’s oeuvre.
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Falkenburg, Reindert L. "Pieter Bruegels Kruisdraging: een proeve van 'close-reading'." Oud Holland - Quarterly for Dutch Art History 107, no. 1 (1993): 17–33. http://dx.doi.org/10.1163/187501793x00081.
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AbstractThe article is a contribution to the iconology of sixteenth-century landscape-painting, and sets out to examine in particular the con nection between the antithethical iconography of the figural clc ment in landscapes by Joachim Patinir, Herri met dc Bles and Jan van Amstel, and Pieter Bruegel's Christ Bearing the Cross in Vienna. Also presented and elucidated is the thesis that in this painting Bruegel anticipated with many details the subjective element in the sixteenth-century beholder's interpretation, and that this subjective element in the reading of the image was anchored in the 'collective' imagery of early sixteenth-century landscape-paint ing. The author endeavours to demonstrate that the manner of reception prompted bv Bruegel's Christ Bearing the Cross is comparable with that required of the beholder of Jan van Amstcl's Landscape with Christ Bearing the Cross in Stuttgart. The uncertainty of the beholder faced with the question of whether a particular subjective interpretation of an individual detail or certain anecdote is 'correct' should not only be seen as a problem for the twentieth-century iconologist but is inherent in the actual painting, and must be judged as a positive element, intended by the painter, in the reception of the image. The beholder's personal insight and judgement in issues of good and evil are the true subject of these paintings.
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Young, James O. "Inquiry in the Arts and Sciences." Philosophy 71, no. 276 (1996): 255–73. http://dx.doi.org/10.1017/s0031819100041474.
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In his 1836 lectures to the Royal Institute, the great landscape painter John Constable stated that ‘Painting is a science, and should be pursued as an inquiry into the laws of nature.’ Landscape, he went on to say, should ‘be considered a branch of natural philosophy, of which pictures are but the experiments.’1 Constable makes two claims in this striking passage. The first is that painting is a form of inquiry. This is, by itself, a bold claim, but Constable goes on to state that painters and scientists inquire in the same way. As controversial as these views are, both of them have been sympathetically entertained in recent years by several philosophers. In particular, Nelson Goodman and Catherine Elgin have maintained that painting, and the other arts, are forms of inquiry, and that they are akin to the sciences in important respects.2 I think, however, that Constable is only half right. Although I agree that the arts are forms of inquiry, I will argue that the arts and the sciences employ radically different methods. That the arts and the sciences are very different forms of inquiry might seem to be a point so obvious as to be scarcely worth making. We can, however, appreciate more clearly how the arts can contribute to our knowledge by contrasting its methods with those of science.
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Ponamarchuk, Ihor. "EXHIBITION ACTIVITIES OF YEVHEN VUCHYCHEVYCH IN THE CONTEXT OF THE ARTISTIC LIFE OF KYIV AT THE BEGINNING OF THE XX CENTURY." Ethnic History of European Nations, no. 59 (2019): 64–69. http://dx.doi.org/10.17721/2518-1270.2019.59.11.
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The article is dedicated to the exhibition activities of the relatively unknown landscape painter Yevhen Vuchychevych (1874? – after 1950). At the beginning of the XX century personal exhibitions were quite unusual for Kyiv, but this artist had at least three such exhibitions – in 1902, 1911 and 1915. A number of unknown facts are entered into the scientific circulation, as well as for the first time the letters of Yevhen Vuchychevych discovered by the author of the article are published.
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McCabe, Robert A., Jon Whyte, and E. J. Hart. "Carl Rungius, Painter of the Western Wilderness." Journal of Wildlife Management 51, no. 2 (1987): 512. http://dx.doi.org/10.2307/3801043.
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이희정. "A Study on the Landscape Painting of Chinese Modern Painter Fu Baoshi (1904-1965)." KOREAN JOURNAL OF ART HISTORY 296, no. 296 (2017): 243–71. http://dx.doi.org/10.31065/ahak.296.296.201712.008.
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Lloyd, A. R. "Moses Tladi, Landscape Painter: South Africa's First Black Artist Working in the Western Tradition." Nka Journal of Contemporary African Art 2013, no. 33 (2013): 20–37. http://dx.doi.org/10.1215/10757163-2352884.
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Pavelchuk, I. "The Formation of the Post-Impressionist Trend in the Creative Practice of Oleh Harahonych." Vìsnik Harkìvsʹkoi deržavnoi akademìi dizajnu ì mistectv 2020, no. 3 (2020): 44–53. http://dx.doi.org/10.33625/visnik2020.03.044.
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The article examines the artistic experience during the period of 1980–2000. Oleh Harahonych’s individual painting style was formed at the turn of the 1960s and 1970s under the influence of a large-scale talent of the famous Ukrainian painter Yosyp Bokshay (1891–1975). O. Harahonych visited Bokshay’s Uzhhorod workshop several years in a row. Having escaped the system-defined academic education, the post-impressionist-to-be was experimenting with the new formal means of reproduction. Being primarily a landscapist, the painter began to develop new dynamic angles of the composition, involving the fragments of a high-altitude highway in presentation of his works, which ensured that his landscapes obtained a sense of modernity. Winding Carpathian roads suggested to the artist a zigzag structure of the composition, which was based on the principles of polar dynamics. In O. Harahonych’s landscapes of the mid‑1980s, the contrast of warm and cold color gradations and intensity of colors enhanced. The dominance of pure colors harmoniously combined with simple shapes that focused on an acute triangle. The renewed lyrical sense of the landscape was reproduced by the simplest artistic means which included decorative ornaments, logic of compositional accents, and clarity of silhouettes. It was realized in a series of plein‑air images of the 2000s. In search of new visual means, Oleh Harahonych’s imagination was ahead of the visual technologies of easel painting of that time. Developed in the 1980s, the author’s style visually resembles the digital presentations in Photoshop. The author’s synthesis of color and form reveals an integral connection between post-impressionism and design, which Roger Fry called “Vision and design” in his book a century ago.
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Ekkart, Rudolf E. O. "De Rotterdamse portrettist Jan Daemen Cool (ca. 1589 -1660)." Oud Holland - Quarterly for Dutch Art History 111, no. 4 (1997): 201–20. http://dx.doi.org/10.1163/187501797x00230.
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AbstractUntil now, the Rotterdam portraitist Jan Daemen Cool was known in the literature only as the maker of a group portrait painted in 1653 of the governors and administrator of the Holy Ghost Hospital at Rotterdam, and of a portrait of Piet Hein, which is dated 1629. Closer scrutiny of his activities reveals that the artist, who never signed his work, was Rotterdam's leading portrait painter in the second quarter of the 17th century. Jan Daemen Cool was born in Rotterdam in 1589 or thereabouts. He may have studied with Michiel Jansz. van Mierevelt in Delft, where he married Agniesje Jaspersdr. in 1613 and was admitted to the guild in 1614. He probably returned to Rotterdam in 1614 and spent the rest of his life there. After his first wife's death in 1622 he married again in 1623, this time to Lijsbeth Cornelisdr., the widow of Lowijs Porcellis. Many archive records indicate that Cool was a very prosperous man. After the death of his second wife in 1652. he bought himself a place in the Rotterdam almshouse; he also pledged to paint a group portrait of the governors. He died in 1660. An important starting point in reconstructing the artist's oeuvre is the portrait of the governors of 1653 (cat.no. 28), the authorship of which is substantiated by archive records. However, the portrait of Piet Hein, painted in 1629 (cat.no. I, 1st version), attributed on the basis of the inscription on Willem Hondius' print, is not an authentic Cool but probably an old copy after a portrait which he had painted a few years earlier. A systematic investigation of Rotterdam portraits from the period between 1620 and 1660 has yielded a closely related group of portraits which may be regarded as the work of one man and which include the 1653 governors piece. Combining this information with additional data and further indications has facilitated the reconstruction of Jan Daemen Cool's oeuvre. Pride of place in that oeuvre is occupied by a group of four family portraits painted between 1631 and 1637 and now in the museums at Lille (cat.no. 4), Edinburgh (cat.no. 6), Rotterdam (cat.no. 16) and Brussels (cat.no. 19). Hitherto these portraits have usually been assigned to Jacob Gerritsz. Cuyp. They are all situated in a landscape and represent an important step in the development of this type of family group in Dutch portraiture. A series of portraits of individual sitters painted be-for 1640, including companion pieces, some them identifiable a people who lived in Rotterdam, arc entirely consistent in style and execution with the aforementioned g group portraits. Elements in the portrait of Johan van Yck with his wife and son, painted in 1632 (cat.no. 5), correspond very closely with these works, but there are also discrepancies which suggest cooperation with another painter or later overpaints. A series of individual portraits dating to 1640 - 1654 link the first group of paintings and the late governors piece, the composition of which is quite exceptional in the entire production of such paintings in 17th-century Holland. Here, as in his early family groups, the artist shows himself to be quite an adroit arranger of f gures. Although this painting and two others of 1654 clearly show that he continued to paint after enterning the almshouse, ture is no extant work from the last years of his life. Along the Rotterdam portraits of the rest ched period are a few - likewise unsigned - family groups which are strongly influenced by Cool but are obviously the work of a less proficient hand (figs. 5 and 6). Comparison with a signed portrait of 1649 (fig. 7) enables them to be assigned to the painter Isaack Adamsz. de Colonia (ca. 1611-1663), presumably a pupil of Cool's. Although the work of Jan Daemen Cool bears a resemblance to that of such artists as Michiel van Mierevelt and Jan Anthonisz. van Ravesteyn, his oeuvre has a distinctive character that is most in evidence in his group portraits. There are obvious correspondences with painters such as Jacob Gerritz. Cuyp of Dordrecht, to whom various works by Cool were hitherto attributed, and Willem Willemsz. van Vliet of Delft - artists who likewise developed their own characteristic styles.
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Simanzhenkova, T. K., and T. Yu Serikova. "Boris Ryauzov: landscape as a way of knowing the world." Vestnik of Saint Petersburg State University of Culture, no. 3 (44) (September 2020): 94–99. http://dx.doi.org/10.30725/2619-0303-2020-3-94-99.
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The article is dedicated to the Krasnoyarsk landscape painter Boris Yakovlevich Ryauzov, a full member of the USSR Academy of arts. The paper analyzes the creative path and the main, most representative works of the masterfrom the position of developing the fi gurative content and the philosophical orientation of his search. The artist’s work is compared with regional artistic traditions. The transformation of landscape concept is analyzed and B. Ya. Ryauzov’s worldview and creative positions are revealed. Features of work on the landscape to learn and build the author’s picture of the world are refl ected. The concept of «landscape» and the specifi cs of its visualization in the art of Siberia were considered. The article uses methods of art criticism and cultural and historical analysis. It is concluded that a true artist who does not pursue opportunistic (political, economic) or commercial goals and does not seek popularity, follows the path of knowledge and attracts the viewer in his search, satisfying the innate human passion for exploring the process of creating and arranging everything that exists and himself.
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WAINWRIGHT, STEVEN P. "Embodied vulnerability in the art of J. M. W. Turner: representations of ageing in Romantic painting." Ageing and Society 24, no. 4 (2004): 603–16. http://dx.doi.org/10.1017/s0144686x04001990.
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Narratives of ageing are an important theme in both medical sociology and the sociology of the body. Research on representations of the ageing body typically draws upon such subjects as the paintings of Rembrandt or Victorian literature. In this paper, however, the aim is to demonstrate that some of J. M. W. Turner's pictures contain insightful narratives on ageing, the vulnerability of the body and the nature of our shared humanity. Turner (1775–1851) is widely regarded as Britain's greatest painter and one of the world's great artists. I contend that the central principle of Turner's Romantic art is the arousal of sensation. Although Turner is generally revered as a painter of landscape rather than ‘the body’, the paper maintains that many of Turner's paintings can be read as studies in the vulnerability of the body. It will be shown, for example, that many of Turner's pictures are wonderfully evocative ‘visual poems’ on the universal human experiences of loss, decline, ‘the fallacies of hope’, grief, ageing and death. This paper is, therefore, a cultural case study of ‘the decline narrative’ of ageing.
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Johnson, K. ""Dark Spot" in the Picturesque: The Aesthetics of Polygenism and Henry James's "A Landscape-Painter"." American Literature 74, no. 1 (2002): 59–87. http://dx.doi.org/10.1215/00029831-74-1-59.
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Bermingham, Ann. "The Idea of the English Landscape Painter: Genius as Alibi in the Early Nineteenth Century." Eighteenth-Century Studies 32, no. 3 (1999): 409–10. http://dx.doi.org/10.1353/ecs.1999.0013.
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Rodner, William S., and Kay Dian Kriz. "The Idea of the English Landscape Painter: Genius as Alibi in the Early Nineteenth Century." Albion: A Quarterly Journal Concerned with British Studies 30, no. 2 (1998): 335. http://dx.doi.org/10.2307/4053580.
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Heckenberg, Kerry. "Conflicting Visions: The Life and Art of William George Wilson, Anglo-Australian Gentleman Painter." Queensland Review 13, no. 1 (2006): 1–21. http://dx.doi.org/10.1017/s1321816600004244.
Full textAbstract:
Research for this paper was prompted by the appearance of a group of nine small landscape paintings of the Darling Downs area of Queensland, displayed in the Seeing the Collection exhibition at the University Art Museum (UAM), University of Queensland from 10 July 2004 until 23 January 2005. Relatively new to the collection (they were purchased in 2002), they are charming, small works, and are of interest principally because they are late-colonial depictions of an area that was of great significance in the history of Queensland.