Academic literature on the topic 'Painting Art and literature. Romanticism in art'
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Journal articles on the topic "Painting Art and literature. Romanticism in art"
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Frank, Mitchell B. "New Romanticisms in Wilhelmine Germany." Romantik: Journal for the Study of Romanticisms 3, no. 1 (2016): 9. http://dx.doi.org/10.7146/rom.v3i1.23251.
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This essay examines and connects two related issues in the literature on the history of art of the Wilhelmine Period: the canonical shift in German romantic painting from the Nazarenes to Phillip Otto Runge and Caspar David Friedrich; and the attempt to position the work of contemporary German artists (often called new idealists) as a new romanticism. At this time, art historians like Richard Muther and Cornelius Gurlitt take on a romantic sensibility in their attempts to position contemporary German art on the international scene. With the development of new idealism in German artwriting, two new romanticisms were thus founded. Modern German art (the work of Anselm Feuerbach, Hans von Marées, Arnold Böcklin, Max Klinger, and others) was claimed within a romantic tradition. And romantic painting was conceptualized anew with the focus increasingly on Friedrich and Runge, and less on the Nazarenes.
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Karaçoban, Atanas, and Patricia Denisa Dita. "Painting, Poetry and the Interference of the Genres in English Art: The Case of William Blake." Border Crossing 10, no. 1 (2020): 29–42. http://dx.doi.org/10.33182/bc.v10i1.931.
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Throughout the history of Western culture and art, there are numerous examples of those who, in their creativity, went beyond the limits of a particular art, embarking instead on attempts to combine in one artistic discourse the practices of various arts, such as music and poetic text, drama and dance, literature and sculpture, literature and painting, and so on. One of these artists is William Blake, acclaimed as a major poet and painter of romanticism in English and world art. He is accredited as the founder of a whole new and original method of producing artistic works, called “illuminated printing”, which is a remarkable combination of poetic text, decoration, and picture. Apart from revealing Blake’s appurtenance to romantic tradition, the present study aims to present the specificity of his technique and, primary, to disclose the ways in which it combines the artistic practice of poetry with that of painting as to render and strengthen the meaning by mutually sustaining and illuminating each other.
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Barbosa Ribeiro, Marta, and Joana Brites. "Rethinking the stylistic categories of Portuguese 19th century sculpture: the work of António Teixeira Lopes." Ars Longa. Cuadernos de arte, no. 26 (February 1, 2018): 157. http://dx.doi.org/10.7203/arslonga.26.10961.
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This paper aims to rethink 19th century Portuguese sculpture’s stylistic categories from the analysis of the work of António Teixeira Lopes, who is considered the major representative of naturalism in this country. First, the concept of naturalism in Portuguese art history is examined, with a critical characterization of its separation from romanticism (contrasting with mainstream literature) and demonstrating that its emergence from painting research and its adoption in sculpture is inoperative when observing a concrete art work. Secondly, with the Portuguese art reality as a backdrop, Teixeira Lopes’ academic and professional life is contextualised. Finally, based on the analysis of the sculptor’s work and the knowledge of his methods and views on art, the labelling of Lopes as a naturalist is questioned and the necessity for a less compartmentalized understanding of 19th century art is stressed.
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Bychkov, V. V. "The Symbolic Essence of Art in Friedrich Schlegel’s Romantic Aesthetics." Art & Culture Studies, no. 1 (2021): 266–87. http://dx.doi.org/10.51678/2226-0072-2021-1-266-287.
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According to Friedrich Schlegel, one of the leading theorists of German Romanticism, the “highest” art is always symbolic, and it would be more precise to name the discipline that deals with it “symbolics”, rather than “aesthetics”. According to Schlegel, the highest arts comprise painting, sculpture, music, and poetry as the “arts of the beautiful and the ideally significant”. Using the examples of painting and literary arts, he demonstrates the symbolic character of art in general. Schlegel thinks that masterpieces of old Italian and German painters exemplify symbolic art. Schlegel is against separating painting into genres. He thinks that portrait, landscape, or still nature are merely sketches in preparation for a large, multi-figure, historical painting — as a rule, with Christian content — which leads the spectator to divine spheres. At the same time, painting must perform its symbolic function by means purely pictorial. The best examples of poetry (this is how Schlegel styles all belles lettres) also have been symbolic, especially during its “Romantic period”, from the Middle Ages and up to the 1600s. Schlegel refers to its symbolic meaning by the term “allegory”. The Bible — as an artistic, symbolic book — became the foundation of the “Romantic” literature of the Middle Ages, which took two routes: “Christian-allegorical”, which transfers Christian symbolism on to the entire world and life, and properly speaking Romantic, which presents every phenomenon of life as leading up to symbolic beauty. Using the example of drama, Schlegel divides works of art into three categories: superficial, spiritual-profound, and eschatological. According to the German philosopher, contemporary art has lost its symbolic content and mostly remains at the superficial level.
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Harmash, Liudmyla. "EKPHRASIS IN ARTS AND WONDERS BY GREGORY NORMINTON: GIUSEPPE ARCIMBOIDO AND TOMMASO GRILLI." Fìlologìčnì traktati 12, no. 1 (2020): 49–60. http://dx.doi.org/10.21272/ftrk.2020.12(1)-5.
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The article reveals some features of postmodern aesthetics that were borrowed by modern literature from romantics, and are now undergoing a period of criticism. It is shown how a fiction reflects the continuity between contemporary literature and previous literary phenomena, which consists in the perception, transformation, and critical rethinking of aesthetic ideas and concepts. For this purpose, the genesis of Norminton’s novel Arts and Wonders was traced and a literary technique such as ekphrasis, that means a verbal description of a painting, was researched. An analysis of the two most significant ekphrasises – Vertumn and The Librarian – showed that the author of the novel raises the problem of copy or plagiarism, which today has gained particular relevance both in the world of art and in the academic environment. It was showed that Norminton solves this issue by referring to the traditional concept of mimesis. Despite the declaration of the need to imitate nature, Arts and Wonders demonstrates that the contemporary author asserts his right to free creative imagination, including the interpretation of historical facts and figures. The literary text refers to the artifacts which are presented in the arsenal of culture that are freely combined according to a kaleidoscope principle. Raising the question of the dialectical unity of such aesthetic categories as “beauty” and “ugliness”, Norminton enters into a polemic with the forerunner of postmodernism – romanticism. At the same time, the writer also poses questions about the correlation in the artist’s work of parts and the whole, about the need to achieve a balance of proportions between the elements that make up a work of art. Determining the genre originality of the novel, the author of the article concludes that it is a complex synthetic form that combines the features of picaresque novel, a biographical novel, a travel book, a historical novel, an artist's novel, and a Bildungsroman, which as a result forms a new genre variety – an adventure novel about the artist.
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Hockenhull, Stella. "Sublime landscapes in contemporary British horror: The Last Great Wilderness and Eden Lake." Horror Studies 1, no. 2 (2010): 207–24. http://dx.doi.org/10.1386/host.1.2.207_1.
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Landscape, as distinct from setting, presents its own visual authority, particularly in the horror genre. A number of contemporary British films contain pictorial images of the landscape that are not necessarily pivotal to the narrative. By implementing an analysis of these representations in contemporary British rural horror, and drawing on the theories of romanticism and the Sublime of the eighteenth and nineteenth centuries with their emphasis on the spiritual aspects of nature, allows for setting as more than narrative space. It produces an affect that elicits a certain type of emotion from the viewer, who is invited to experience an intuitive response on encountering the pictorial compositions, aiding narrative meaning. This essay examines what Martin Lebebvre describes as impure or spectator landscapes in two recent films: The Last Great Wilderness (MacKenzie, 2002) and Eden Lake (Watkins, 2008), and finds visual correlations drawn from the contemporary art world. This indicates that, from a socio-cultural perspective, the twenty-first century has witnessed an emergence of Romantic and sublime vocabulary in both film and painting, which indicates the existence of, what Raymond Williams might term, a structure of feeling.
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Kimber, Marian Wilson. "Victorian Fairies and Felix Mendelssohn's A Midsummer Night's Dream in England." Nineteenth-Century Music Review 4, no. 1 (2007): 53–79. http://dx.doi.org/10.1017/s1479409800000069.
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In art, literature, theatre and music, Victorians demonstrated increased interest in the supernatural and nostalgia for a lost mythic time, a response to rapid technological change and increased urbanization. Romanticism generated a new regard for Shakespeare, also fuelled by British nationalism. The immortal bard's plays began to receive theatrical performances that more accurately presented their original texts, partially remedying the mutilations of the previous century. The so-called ‘fairy’ plays, A Midsummer Night's Dream and The Tempest, were also popular subjects for fairy paintings, stemming from the establishment of the Boydell Shakespeare Gallery in 1789. In such a context, it is no wonder that Felix Mendelssohn's incidental music for A Midsummer Night's Dream was so overwhelmingly popular in England and that his style became closely associated with the idea of fairies. This article explores how the Victorians’ understanding of fairies and how the depiction of fairies in the theatre and visual arts of the period influenced the reception of Mendelssohn's music, contributing to its construction as ‘feminine’. Victorian fairies, from the nude supernatural creatures cavorting in fairy paintings to the diaphanously gowned dancers treading lightly on the boards of the stage, were typically women. In his study of Chopin reception, Jeffrey Kallberg has interpreted fairies as androgynous, but Victorian fairies were predominantly female, so much so that Lewis Spence's 1948 study, The Fairy Tradition in Britain, includes an entire section on fairy gender intended to refute the long-standing notion that there were no male fairies. Thus, for Mendelssohn to have composed the leading musical work that depicted fairies contributed to his increasingly feminized reputation over the course of the nineteenth century.
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Joshi, Shobhana. "LITERATURE IN PAINTING / PAINTING IN LITERATURE." International Journal of Research -GRANTHAALAYAH 7, no. 11 (2019): 5–9. http://dx.doi.org/10.29121/granthaalayah.v7.i11.2019.899.
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English : The world is pictorial, it is also a movie. "Who is this painter"! Do not know! But a small part of the universe is born in the middle of these pictures and movies, it is time-consuming. One watches these movies during the movement of breaths and stops. This which he sees, passes through the camera of his eyes and is printed in the mind and heart. He is restless. Let me share that print. A hieroglyph of this sharing from the rest. The script rang, the pictures were painted, the colors were unrefined. Manas became fertile, art enriched by imagination. Art grew to vibrancy from the sentiments of human beings progressed by primitive barbarism. The infinite beauty of the parallel vision of creation embodied dance art, singing art with Prabhavishnuta. The instruments were unmodified. When the replica of nature was found to be a sound form, the concrete shape from the soil and stone was found in the form of "sculpture".
 Hindi : सृष्टि चित्रलिखित सी है, चलचित्र भी है। ''ये कौन चित्रकार है''! पता नहीं! पर सृष्टि का एक क्षुद्र हिस्सा भर मनुष्य इन चित्रों-चलचित्रों के बीच ही जनमता है, काल-कवलित होता है। सांसों के आने-जाने और रूक जाने की अवधि में इन चलचित्रों को देखता है। यह जो वह देखता है, उसकी आँखों के कैमरे से गुजरकर दिल-दिमाग में छपता है। उसे बैचेनी होती है। उस छपे को साझा करूँ। इस साझा करने की बैचेनी से जनमी चित्रलिपि। लिपि की बेल फैली, चित्र रचे चितेरों ने, रंग अविष्कृत हुए। मानस उर्वर हुआ, कल्पना से कला समृद्ध हुई। आदिम बर्बरता से आगे बढ़े मनुष्य के भावों से कला को स्पन्दन मिला। सृष्टि के समानांतर दृष्टि के अपरिमित सौंदर्य ने प्रभविष्णुता के साथ नृत्य कला, गायन कला को मूर्त्त किया। वाद्य अविष्कृत हुए। प्रकृति की प्रतिकृति ध्वनि रूप पा गयी तो मिट्टी और पत्थर से ठोस आकार ''मूर्तिकला'' रूप में मिला।
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Langer, Johnni. "Imagining national belief through art." Revista de História da Arte e da Cultura 2, no. 1 (2021): 6–26. http://dx.doi.org/10.20396/rhac.v2i1.14708.
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This article analyzes the painting Nordisk offerscene fra den Odinske periode (Nordic sacrificial scene from the period of Odin), created by the Danish painter Johan Ludvig Gebhard Lund (1777-1867) in 1831 and which presents a theme regarding Old Norse religion and the Vikings. We have made use of Ernest Gombrich's schemata theory and the studies of reception by Margaret Clunies Ross. Our main perspective is that Lund's work was related to both Danish nationalist romanticism and to a perspective of history and art in which the ancient religious forms and idealized representations of the Vikings played a major role in shaping social and cultural identities of his time.
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Feller, C., E. R. Landa, A. Toland, and G. Wessolek. "From soil in art towards Soil Art." SOIL Discussions 2, no. 1 (2015): 85–132. http://dx.doi.org/10.5194/soild-2-85-2015.
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Abstract. The range of art forms and genres dealing with soil is wide and diverse, spanning many centuries and artistic traditions, from prehistoric painting and ceramics to early Renaissance works in Western literature, poetry, paintings, and sculpture, to recent developments in cinema, architecture and contemporary art. Case studies focused on painting, installation, and cinema are presented with the view of encouraging further exploration of art about, in, with, or featuring soil or soil conservation issues, created by artists, and occasionally scientists, educators or collaborative efforts thereof.
Dissertations / Theses on the topic "Painting Art and literature. Romanticism in art"
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McCue, Maureen Clare. "British Romanticism and Italian Renaissance art." Thesis, University of Glasgow, 2011. http://theses.gla.ac.uk/2680/.
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This study examines British Romantic responses to Italian Renaissance art and argues that Italian art was a key force in shaping Romantic-period culture and aesthetic thought. Italian Renaissance art, which was at once familiar and unknown, provided an avenue through which Romantic writers could explore a wide range of issues. Napoleon’s looting of Italy made this art central to contemporary politics, but it also provided the British with their first real chance to own Italian Old Master art. The period’s interest in biography and genius led to the development of an aesthetic vocabulary that might be applied equally to literature and visual art. Chapter One discusses the place of Italian art in Post-Waterloo Britain and how the influx of Old Master art impacted on Britain’s exhibition and print culture. While Italian art was appropriated as a symbol of British national prestige, Catholic iconography could be difficult to reconcile with Protestant taste. Furthermore, Old Master art challenged both eighteenth-century aesthetic philosophy and the Royal Academy’s standing, while simultaneously creating opportunities for new viewers and new patrons to participate in the cultural discourse. Chapter Two builds on these ideas by exploring the idea of connoisseurship in the period. As art became increasingly democratized, a cacophony of voices competed to claim aesthetic authority. While the chapter examines a range of competing discourses, it culminates in a discussion of what I have termed the ‘Poetic Connoisseur’. Through a discussion of the work of Lord Byron, Percy Shelley and William Hazlitt, I argue that Romantic writers created an exclusive aristocracy of taste which demanded that the viewer be able to read the ‘poetry of painting’. Chapter Three focuses on the ways in which Romantic writers used art to produce literature rather than criticism. In this chapter, I argue that writers such as Byron, Shelley, Lady Morgan, Anna Jameson and Madame de Staël, created an imaginative vocabulary which lent itself equally to literature and visual art. Chapter Four uses Samuel Rogers’s Italy as a case study. It traces how the themes discussed in the previous chapters shaped the production of one of the nineteenth century’s most popular illustrated books, how British art began to appropriate Italian subjects and how deeply intertwined visual and literary culture were in the period. Finally, this discussion of Italy demonstrates how Romantic values were passed to a Victorian readership. Through an appreciation of how the Romantics understood Italian Renaissance art we can better understand their experience and understanding of Italy, British and European visual culture and the Imagination.
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Van, Pletzen Ermina Dorothea. "The language of painting in nineteenth-century English fiction." Doctoral thesis, University of Cape Town, 1995. http://hdl.handle.net/11427/21770.
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Bibliography: pages 322-332.<br>This thesis examines the material and aesthetic sustenance which the novel as developing genre drew from the burgeoning popular interest in the visual arts, particularly the pictorial arts, which took place during the course of the nineteenth century in Britain. The first chapter develops the concept of the language of painting which for the purposes of the thesis refers to the linguistic transactions occurring between word and pictorial image when writers on art formulate their impressions in language. This type of discourse is described as governed by conceptual repetition and firmly established techniques of ekphrasis, as well as by indirect and peripheral modes of reference, not to the concrete stylistic features of the works of art under consideration, but to their effect on the viewer, the metaphors they call to mind, and the processes which can be inferred about their conception. The first chapter also gives a survey of the most important thematic strains and structural developments which had been imported into literature by the end of the eighteenth century. A chapter is then dedicated to each of five nineteenth-century novelists, Jane Austen, William Makepeace Thackeray, Charlotte Bronte, George Eliot, and Henry James, mapping out their individual grasp and knowledge of pictorial art in their particular circumstances, their experience of the art world, and the extent to which their experience of art is mediated by current painterly discourses. Each chapter next considers how pictorial material is appropriated in these novelists' fiction and whether the fiction draws structural support and meaning from pictorial concepts. The thesis furthermore investigates the inverse question of how the fiction itself becomes a context which not only reflects, but also shapes and alters inherited languages of painting. The second chapter approaches Austen's social satire against the background of the aesthetic traditions which she inherits from the eighteenth century. It is argued that her own novelistic aesthetic gains more from the discourses surrounding the practice of picturesque landscape appreciation (and related forms) than from Reynolds's doctrine of the general and ideal dominating the mid to late eighteenth century.
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Jeannerod, Aude. "La critique d'art de Joris-Karl Huysmans. Esthétique, poétique, idéologie." Thesis, Lyon 3, 2013. http://www.theses.fr/2013LYO30064.
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Étudier la critique d’art de Joris-Karl Huysmans soulève des enjeux esthétiques, poétiques et idéologiques. Si elle constitue un genre à part entière, que l’auteur a pratiqué en tant que tel, la critique d’art entretient des relations de complémentarité et d’interférence avec le reste de l’œuvre. S’y élabore en effet une esthétique, qui à son tour définit une poétique : parce que le critique est également écrivain, la réflexion qu’il mène au sujet des arts plastiques – peinture, sculpture, architecture – se développe parallèlement à sa pratique d’écriture. Ses options critiques reposent sur une analogie entre les arts, s’inscrivant en cela dans une longue tradition, qui va de l’ut pictura poesis horatien aux correspondances baudelairiennes, en passant par le paragone de la Renaissance. Aussi regarde-t-il l’art en tant qu’écrivain, y cherchant tantôt la confirmation de ses idées sur la littérature, tantôt un modèle d’écriture. Mais parce que la critique engage des valeurs et des convictions, elle se fait aussi la chambre d’écho des options idéologiques de son auteur, aux plans socio-économique, politique et épistémique. Huysmans regarde l’art à travers une idéologie qui se décline en un certain nombre de valeurs et de contre-valeurs : héritier d’un siècle de romantisme, il entretient un rapport douloureux avec son temps, en délicatesse avec la pensée de son époque. Cette idéologie – à la fois anticapitaliste, antibourgeoise et antimoderne – filtre donc le regard qu’il pose sur l’art : elle détermine en partie ses jugements esthétiques, elle les oriente de façon diverse et souvent contradictoire<br>In Joris-Karl Huysmans’s art criticism, aesthetics, poetics and ideology are at stake. Though art criticism is a genre in its own right, which the author used as such, it maintains close relations with his other works: they complete one each other as well as they interfere together. In his art criticism, Huysmans develops aesthetics, which define in its turn poetics: because the critic is also a writer, his thinking about visual arts – painting, sculpture, architecture – runs parallel with his writing process/practice. His critical assessments rest upon a comparison between the arts and therefore form part of a tradition which roots in Horace’s maxim ut pictura poesis, crosses the Renaissance period with the paragone and leads to Baudelaire’s correspondances. When watching a painting, Huysmans remains a writer: he’s looking for a confirmation of his ideas about literature or a model for his writing. But because art criticism puts values and beliefs at stake, it echoes the ideological choices of its author, on socio-economic, political and epistemic levels. Huysmans sees the arts through an ideology which comes in various values (et contre-valeurs): heir of a century deeply marked by romanticism, he maintains painful relationships with his time, in trouble with modern ideas. His ideology – against capitalism, bourgeoisie and modernity – filters the way he considers the arts; it partly determines and influences, in various but often opposing ways, his aesthetic judgement
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Cordy, Raven. "Making Christian Art in a Contemporary Setting." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/honors/601.
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Over the past 4 and a half years, I have studied contemporary art and seen countless artworks being made in an academic setting. In doing so, I have come to the realization that religious content is rare in today’s time. While it is not actively discouraged, the environment I am in and the current art community does not seem to be particularly interested in merging the two concepts. Without understanding why, I subconsciously kept art and my faith as separate entities for the first few years of my higher education. But as I matured and developed my own artwork, I began to feel as though my identity and my interests should be rooted in my relationship with God. Upon this reflection, I began looking for ways to make Christian art in a contemporary setting that could also be accepted by those who do not share my faith.
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Woodger, Jeff Robert University of Ballarat. "An inquiry into Suiboku and Kano School influences on Rococo and Romantic landscape painting through Claude Lorraine (1600-1682) and Salvator Rosa (1615-1673)." University of Ballarat, 2006. http://archimedes.ballarat.edu.au:8080/vital/access/HandleResolver/1959.17/12791.
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"This research project examines the impact and influence of Chinese and Japanese ink landscape painting on the genre of Grand Manner Classical and Romantic landscape painting in Europe, from its beginnings as an independent genre in the 17th century. Specifically, the grand theme of woods and rivers will be investigated and its stylistic and philosophical relationship to Chinese and Japanese aesthetics demonstrated. The work examines how Far Eastern landscape painting conventions and techniques can be effectively acquired, and practically applied to painting in the manner of Classical and Romantic landscapes. [...]The aim of the investigation is to contribute to our deeper understanding of the genesis of this important style of artistic representation, and give fuller credit to the initiators of the technique and to those who realised its potential in the field of Western art."<br>Doctor of Philosophy
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Woodger, Jeff Robert. "An inquiry into Suiboku and Kano School influences on Rococo and Romantic landscape painting through Claude Lorraine (1600-1682) and Salvator Rosa (1615-1673)." University of Ballarat, 2006. http://archimedes.ballarat.edu.au:8080/vital/access/HandleResolver/1959.17/15614.
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"This research project examines the impact and influence of Chinese and Japanese ink landscape painting on the genre of Grand Manner Classical and Romantic landscape painting in Europe, from its beginnings as an independent genre in the 17th century. Specifically, the grand theme of woods and rivers will be investigated and its stylistic and philosophical relationship to Chinese and Japanese aesthetics demonstrated. The work examines how Far Eastern landscape painting conventions and techniques can be effectively acquired, and practically applied to painting in the manner of Classical and Romantic landscapes. [...]The aim of the investigation is to contribute to our deeper understanding of the genesis of this important style of artistic representation, and give fuller credit to the initiators of the technique and to those who realised its potential in the field of Western art."<br>Doctor of Philosophy
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Kao, Yi-Li. "Chinese poetry and painting in postwar Taiwan : angst and transformation in the negotiation between tradition and modernity /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2005. http://wwwlib.umi.com/cr/ucsd/fullcit?p3170230.
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Kim, Joanne S. "Romanticism and the Poetics of Orientation." The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu1523659373305353.
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Slobtseva, Yelena. "DRAWING IN THE MARGINS." Bowling Green State University / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1162849860.
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Coetsee, Yda Cornelia. "Figuring from within : a study in history, painting and the work of Moses Tladi." Thesis, Stellenbosch : Stellenbosch University, 2015. http://hdl.handle.net/10019.1/96974.
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Thesis (MA)--Stellenbosch University, 2015.<br>ENGLISH ABSTRACT: This study explores the significance of landscape painting in my own work and in the work of
Moses Tladi, one of the lesser-known SA pioneer artists working in the oil painting convention.
Through a Romantic lens, I argue that Tladi’s paintings exist as record of his experiences, thoughts
and emotions, making use of a hermeneutics ‘from within’, rather than one aimed at Realist exposition.
While employing such a hermeneutics in my own practice, I seek out points of connection
between Tladi and myself, as well as explore if and to what degree our different socio-political circumstances
shape our practices.
In part one of the thesis I sketch a narrative backdrop to the era in which Tladi lived and of his
relationship to his patrons, mentors and the establishment. I explore his work in relation to popular
conventions at the time, matters of modernism and abstraction, as well as to some degree how the
landscape genre functions in terms of class. The overall argument is divided in two parts, that of
the metaphorical ‘Garden’ and that of the ‘Wilderness’. With this divide I aim to reveal how Tladi
employs the transcendent both in the sublime expanse of Sekhukhuneland and in his domestic,
everyday reality. The ideological relationship between the Garden and Wilderness is examined in
terms of theories on landscape, imperialism and the Lutheran missionary project.
In the second part I describe my own work and discuss the contribution it makes. While alluding
to many of the devices already discussed in Tladi’s work, I sketch the context in which my own
paintings were made and explain some of my stylistic and curatorial choices. In demonstrating how
our techniques and methodologies overlap, I aim to cristallise some of the theoretical themes explored.<br>AFRIKAANSE OPSOMMING: Hierdie studie handel oor die belang van landskapskilder in my eie werk en in the werk van Moses
Tladi, een van Suid-Afrika se minder bekende pionier-kunstenaars in die olieverftradisie. Ek argumenteer,
deur ’n Romantiese blik, dat Tladi se werk as rekord verskyn van sy ervarings, gedagtes en
emosies. In hierdie opsig is sy hermeneutiek ‘inwaarts’ gekeer, eerder as gefokus op die Realistiese
ontbloting van sekere sosiale kwessies. Terwyl ek in my eie skilderpraktyk ook van so ’n hermeneutiek
gebruik maak, soek ek raakpunte tussen my en Tladi se werk onderwyl ek ondersoek of, en tot
watter mate, ons verskillende sosio-politiese omstandighede ons werk vorm.
In Deel Een van die tesis skets ek ’n narratiewe agtergrond tot die era waarin Tladi geleef het en
kyk na sy verhouding met sy beskermhere (“patrons”), sy mentors en die kunsstigting. Ek ondersoek
Tladi se werk aan die hand van populêre konvensies van sy tyd sowel as kwessies van Modernisme
en abstraksie. Ek kyk ook vlugtig na hoe die landskap-genre ten opsigte van sosiale stand
funksioneer. My algehele argument het twee afdelings, die metafoor van die ‘Tuin’, en dié van die
‘Wildernis’. Met hierdie verdeling beoog ek om te wys hoe Tladi transendente aspekte voorstel in
die uitgestrekte, ontsagwekkende landskappe van Sekhukhuneland, maar ook in sy alledaagse, sosiale
realiteit. Die ideologiese verhouding tussen die Tuin en die Wildernis word verder ondersoek ten
opsigte van teorieë oor landskap, imperialisme en die sendingpraktyke van die Lutherse Kerk.
In Deel Twee beskryf ek my eie werk sowel as die bydrae wat dit maak. Ek beskryf die konteks
waarin sommige van die skilderye gemaak is, bespreek hul inhoud, en kyk na spesifieke stilistiese
en kuratoriale keuses. Deurentyd raak ek aan die tegnieke en temas wat alreeds bespreek is in die
afdeling oor Tladi. Deur te demonstreer hoe my en Tladi se tegniek en metodologie oorvleuel, hoop
ek om die teoretiese temas wat reeds ondersoek is, te kristalliseer.
Books on the topic "Painting Art and literature. Romanticism in art"
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Tscherny, Nadia. Romance & chivalry: History and literature reflected in early nineteenth-century French painting. Stair Sainty Matthiesen, 1996.
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Prophets of nature: Green spirituality in romantic poetry and painting. Floris Books, 2008.
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Dehejia, Harsha V. The flute and the lotus: Romantic moments in Indian poetry & painting. Grantha Corporation, 2002.
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Imagining the gallery: The social body of British romanticism. Stanford University Press, 2006.
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Baudelaire, Charles. The painter of modern life and other essays. Da Capo Press, 1986.
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Musée de la vie romantique (Paris, France), ed. Jardins romantiques français: Du jardin des lumières au parc romantique : 1770-1840. Paris musées, 2011.
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Wordsworth, Turner, and romantic landscape: A study of the traditions of the picturesque and the sublime. Camden House, 1987.
Find full textBook chapters on the topic "Painting Art and literature. Romanticism in art"
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Barrett, Cyril. "Leisure in Western Painting." In Leisure in Art and Literature. Palgrave Macmillan UK, 1992. http://dx.doi.org/10.1007/978-1-349-11353-8_6.
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Kearns, James. "No Object too Humble? Still Life Painting in French Art Criticism during the Second Empire." In French Literature, Thought and Culture in the Nineteenth Century. Palgrave Macmillan UK, 1993. http://dx.doi.org/10.1007/978-1-349-11824-3_9.
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Masson, David. "“Pre-Raphaelitism in Art and Literature”." In Victorian Painting. Routledge, 2018. http://dx.doi.org/10.4324/9780429430206-22.
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Hutchinson, G. O. "Visual Art." In Motion in Classical Literature. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198855620.003.0002.
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Visual art shows the ancient interest in motion palpably, and helps in perceiving both differences between depictions in art and literature and aspects they have in common. Mostly well-known works of art are chosen for detailed discussion. A Corinthian arbyallos shows leaping in a dance as an action admired in itself; a Boeotian skyphos gives a dynamic picture of Odysseus blown by the wind. The stele of Dexileos presents a moment of motion just before a decisive event, as does a wall-painting of Pentheus. Still further back before events come the discus-thrower (Discobolus) and a painting of Medea. A wall-painting of Hades and Persephone and Exekias’ vase-painting of Dionysus show gods in motion at the start and in the sequel of events. Artistic depictions exploit space, visual detail, and the regularity of motion; the viewer’s knowledge is important, as in literature. Lessing misguidedly thinks that literature is more suited to depicting motion; literature can do more with time, but less with physical detail and space. The contribution of the reader’s or listener’s imagination does not reduce the significance of described motion, any more than the contribution of the viewer reduces the significance of depicted thought. Part of literature’s interest in art is an interest in motion, as in ekphrasis or Pindar. Art and literature together show important variables (like speed), oppositions (as between individual and a group), structures (as of male and female). In literature, language is important to what motion arrests attention.
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Hannoosh, Michèle. "Romanticism: art, literature, and history." In The Cambridge History of French Literature. Cambridge University Press, 2011. http://dx.doi.org/10.1017/chol9780521897860.052.
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"From Gurus to Kings: Early and court painting: Gursharan Singh Sidhu." In Sikh Art and Literature. Routledge, 2002. http://dx.doi.org/10.4324/9780203061374-11.
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"The Reception of Electricity: Art as Radio in Literature, Painting, and Performance." In Radio as Art. transcript-Verlag, 2019. http://dx.doi.org/10.14361/9783839436172-003.
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"The great code of art: religious revival and the rebirth of pictorial meaning." In Painting the Sacred in the Age of Romanticism. Routledge, 2017. http://dx.doi.org/10.4324/9781315090146-2.
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"A family tree of German art: avant-garde, anti-Judaism and artistic identity." In Painting the Sacred in the Age of Romanticism. Routledge, 2017. http://dx.doi.org/10.4324/9781315090146-7.
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McCue, Maureen. "Making Literature." In British Romanticism and the Reception of Italian Old Master Art, 1793–1840. Routledge, 2016. http://dx.doi.org/10.4324/9781315570280-4.
Full textConference papers on the topic "Painting Art and literature. Romanticism in art"
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Sun, Lili. "A Literature Review of Northeast Farmer Painting Art." In The 6th International Conference on Arts, Design and Contemporary Education (ICADCE 2020). Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210106.030.
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Ding, Mei. "Appreciation of Giuseppe Castiglione ‘s Baizi painting." In proceedings of the 2nd International Conference on Literature, Art and Human Development (ICLAHD 2020). Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.201215.522.
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Liang, Hongli. "Let Painting Become Painting--An Analysis of the Characteristics of 70 to 90 Specialty Creation in Art Academy Education." In proceedings of the 2nd International Conference on Literature, Art and Human Development (ICLAHD 2020). Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.201215.384.
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Bykova, A. M. "Between painting and literature: 3 types of ekphrasis in Polish poetry of the 20th century (analysis of selected examples)." In CULTURAL STUDIES AND ART CRITICISM: THINGS IN COMMON AND DEVELOPMENT PROSPECTS. Baltija Publishing, 2020. http://dx.doi.org/10.30525/978-9934-26-004-9-78.
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Lu, Zhang. "THE INTERTEXTUALITY OF RUSSIAN LITERATURE AND RUSSIAN PAINTING IN THE 19TH CENTURY." In INNOVATIONS IN THE SOCIOCULTURAL SPACE. Amur State University, 2020. http://dx.doi.org/10.22250/iss.2020.21.
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The background color of Russian literature and Russian painting art in the 19th century is gloomy and heavy, and there exists text intertextuality between them, which is different from single text and single painting. Literary words and painting invisible words quote, permeate, insinuate and rewrite each other. Literature is the writing of painting, and painting is the color of literature. The main line of literature development and the main line of painting development seem to be twisted together like a rope, presenting spiral development, closely linked, complementary and inseparable.The same value orientation and aesthetic purpose have intertextuality, mutual influence, mutual interaction and mutual transformation, no matter in creation method, theme, artistic style or creation background. Direct description or sharp pen, or by the protagonist of indirect irony, using realistic and critical realism creation method, revealing the tsarist autocracy savage, dissatisfaction with the reality in protest of rebellion, as well as being bullied and oppressed pain and struggle, at the same time reflects the immortality of the Russian national literature and art achievement.
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Molteni, Elisabetta, and Alberto Pérez Negrete. "Assedi della guerra di Morea nel ciclo celebrativo di Francesco Morosini. Arte, topografia e storia militare." In FORTMED2020 - Defensive Architecture of the Mediterranean. Universitat Politàcnica de València, 2020. http://dx.doi.org/10.4995/fortmed2020.2020.11440.
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Sieges of the Morea War in the celebratory cycle of Francesco Morosini. Art, topography and military historyThe forty-eight paintings executed between the seventeenth and eighteenth centuries to celebrate the military campaigns of Francesco Morosini (1619-1694) are an exceptional repertoire of military genre painting. The canvas uses different figurative registers to represent naval battles, cities and territories, siege operations. If the relations with war literature and propaganda prints, which spread across Europe and which had their official “historiographer” in Vincenzo Coronelli in Venice, are evident, equally strong relationships can be established between the paintings, war reports and the plans made on the battlefield by military engineers. This paper deals with the paintings dedicated to the sieges of Corone and Negroponte are examined here.
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Aristizábal, José Antonio. "HUMBERTO RIVAS, DESDE LO ROMÁNTICO Y LO SINIESTRO. HUMBERTO RIVAS FROM THE ROMANTIC AND THE SINISTER." In I Congreso Internacional sobre Fotografia: Nuevas propuestas en Investigacion y Docencia de la Fotografia. Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/cifo17.2017.6880.
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Palabras clave:Fotografía, estética, Humberto Rivas, Rafael Argullol, Eugenio Trías.Keywords: Photography, esthetic, Humberto Rivas, Rafael Argullol, Eugenio Trías.Resumen:El siguiente artículo busca dar una lectura a la obra del fotógrafo Humberto Rivas, Premio Nacional de Fotografía y unos de los mayores exponentes de la fotografía española de finales del siglo XX. Se parte de la convicción de que hace falta ubicar a Humberto Rivas en una tradición de pensamiento estético, ya que las distintas lecturas que existen sobre su trabajo, aunque importantes, no han dejado de ser lecturas impresionistas que no han reflexionado en profundidad sobre su obra. Este artículo trata de ver a Rivas a partir de unas categorías estéticas. Para ello se remite a las reflexiones de Rafael Argullol para distinguir aquello propio del artista romántico, y a las aportaciones filosóficas de Eugenio Trías acerca de lo siniestro en la obra de arte, y las vincula a la obra de Humberto Rivas. La hipótesis inicial es de que Rivas no se sentía como un fotógrafo que atrapa momentos o documenta acontecimientos, sino como un creador, y su obra es resultado de un artista que se repliega sobre sí mismo con la intención de producir una imagen reflejo de su mundo interior, la cual se puede explicar desde la mente del artista romántico, aunque el contexto no sea el romanticismo. Por último, aunque el artículo hable sobre Humberto Rivas, también es una manera de construir un relato entre la imagen fotográfica y distintos valores estéticos que hacen parte la historia del arte. Abstract:The following article seeks to give a reading to the work of photographer Humberto Rivas, National Photography Prize and one of the greatest exponents of Spanish photography at the end of the 20th century. It is based on the conviction that it is necessary to locate Humberto Rivas in a translation of aesthetic thought, since the different readings that exist on his work, although important, have not ceased to be Impressionist readings that have not reflected in depth on his work . This article tries to see Rivas from some aesthetic categories. For this he refers to the reflections of Rafael Argullol to distinguish that of the romantic artist and the philosophical contributions of Eugenio Trías about the sinister in the work of art, and links them to the work of Humberto Rivas. The initial hypothesis is that Rivas did not feel like a photographer who catches moments or documents events, but as a creator, and his work is the result of an artist who recoils on himself with the intention of producing a reflex image of Its inner world, which can be explained, from the mind of the romantic artist although the context is not romanticism. Finally, although the article talks about Humberto Rivas, it is also a way to build a narrative between the photographic image and the values that have served to interpret painting or sculpture in the history of art.
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Pal, M. "Low-pressure cold metal spray coatings for repair and protection of marine components." In 14th International Naval Engineering Conference and Exhibition. IMarEST, 2018. http://dx.doi.org/10.24868/issn.2515-818x.2018.043.
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The marine environment is hostile to most engineering materials, a combination of in-service wear and exposure to marine environment leads to an accelerated material degradation. Insufficient or poor protection of the substrates further assists the accelerated material degradation in marine environment. There is a direct relationship between the material-state of a ship and its operational capability, readiness, and service life. The current state-of-the-art practice is to use paint-based coatings to maintain the material-state of ships. However, the protection offered by paint coatings is usually brief due to inherent permeability and low damage tolerance of these coatings. For this reason, the paint coatings require renewal at regular intervals, typically less than 5-years, to maintain a minimum level of protection from the marine environment. The need for regular painting of ships results in a significant negative impact on the through-life availability, operational capability/readiness, and the cost of maintenance/operation of naval ships. Therefore, the fleet owners and operators should look beyond the conventional paint-based coatings to achieve significant breakthrough improvements in maintaining and enhancing the material-state of naval ships. Metallic coatings, if selected and applied appropriately, will outperform the paint coatings in the marine environment. Historically, the cost and performance of metallic coatings, mainly thermal metal spray (TMS) coatings, prevented their widespread use in the marine industry. The TMS coatings also have their own inherent application and performance related limitations that are widely reported in the literature. However, the cold metal spray (CMS) coating process can overcome the application and performance related limitations that are typically associated with the TMS coatings, therefore creating an opportunity for widespread use of metallic coatings in shipbuilding and fleet upkeep/maintenance. In this paper, the ability of low-pressure (LP-CMS) coatings to repair and reclaim damaged marine components, and application of functional coatings to improve in-service damage tolerance of the damaged/new components is investigated. The results of the investigation show that two LP-CMS coatings, Al-alloy and CuZn-alloy, can be used to repair and preserve both new and damaged components. The accelerated salt-spray and natural immersion corrosion testing of the LP-CMS coatings showed that each coating will be better suited to a particular operational environment, i.e. CuZn-alloy coating performed well in both immersion and atmospheric corrosion environments, whereas Al-alloy coating performed well only in atmospheric corrosion environment.