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Journal articles on the topic 'Picturesque'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

Heimlich, Timothy. "Romantic Wales and the Imperial Picturesque." Modern Language Quarterly 81, no. 2 (2020): 169–92. http://dx.doi.org/10.1215/00267929-8151559.

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Abstract This essay argues that the aesthetic category named the picturesque was first systematized in a Welsh colonial context and that picturesque looking always reflects, to some degree, its initially imperialist function. While the picturesque rapidly acceded to a preeminent place in British travel and landscape writing, its rise was contested by Welsh and working-class writers like the antiquarian poet Richard Llwyd (1752–1835). By conspicuously failing to impose picturesque features on a carefully historicized landscape, Llwyd’s poem Beaumaris Bay (1800) lays bare the picturesque’s antih

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2

McIntosh, Monique. "Picturesque." Wasafiri 33, no. 2 (2018): 80–85. http://dx.doi.org/10.1080/02690055.2018.1431187.

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3

Townsend, Dabney. "The Picturesque." Journal of Aesthetics and Art Criticism 55, no. 4 (1997): 365. http://dx.doi.org/10.2307/430924.

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4

Ljungquist, Kent P. "AMERICAN PICTURESQUE." Resources for American Literary Study 28, no. 1 (2002): 171–73. http://dx.doi.org/10.2307/26366941.

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5

Ljungquist, Kent P. "AMERICAN PICTURESQUE." Resources for American Literary Study 28, no. 1 (2002): 171–73. http://dx.doi.org/10.2307/resoamerlitestud.28.2002.0171.

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6

Osborne, John. "Urban Picturesque." Journal of the Society for the Study of Architecture in Canada 46, no. 1 (2021): 4. http://dx.doi.org/10.7202/1082357ar.

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7

Bainbridge, William. "Picturesque Lost." Performance Research 24, no. 2 (2019): 100–108. http://dx.doi.org/10.1080/13528165.2019.1624045.

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8

TOWNSEND, DABNEY. "The Picturesque." Journal of Aesthetics and Art Criticism 55, no. 4 (1997): 365–76. http://dx.doi.org/10.1111/1540_6245.jaac55.4.0365.

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9

Blackmar, Elizabeth, and John Conron. "American Picturesque." Journal of the Early Republic 22, no. 3 (2002): 546. http://dx.doi.org/10.2307/3124825.

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10

Bramen, Carrie Tirado, and John Conron. "American Picturesque." New England Quarterly 74, no. 2 (2001): 320. http://dx.doi.org/10.2307/3185482.

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11

Gerke, Stefanie. "PICTURESQUE POLAROIDS." photographies 12, no. 2 (2019): 195–207. http://dx.doi.org/10.1080/17540763.2019.1585935.

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12

Oxley, William. "The Inexplicable Picturesque." Books Ireland, no. 211 (1998): 66. http://dx.doi.org/10.2307/20623571.

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13

TROTTER, DAVID. "Naturalism's phobic picturesque." Critical Quarterly 51, no. 1 (2009): 33–58. http://dx.doi.org/10.1111/j.1467-8705.2009.01844.x.

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14

Wollenberg, Susan. "The musical picturesque." Early Music XXIX, no. 2 (2001): 292–93. http://dx.doi.org/10.1093/earlyj/xxix.2.292.

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15

Pacey, Philip. "The Picturesque Railway." Visual Resources 18, no. 4 (2002): 285–309. http://dx.doi.org/10.1080/0197376022000048632.

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16

Ackerman, James S. "The Photographic Picturesque." Artibus et Historiae 24, no. 48 (2003): 73. http://dx.doi.org/10.2307/1483732.

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17

Moravánszky, Ákos. "Camillo Sitte: Romantic or Realist? the Picturesque City Reconsidered." East Central Europe 33, no. 1-2 (2006): 293–308. http://dx.doi.org/10.1163/187633006x00141.

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AbstractAustrian architect Camillo Sitte, author of the important treatise on urban design, Der Städtebau nach seinen künstlerischen Grundsätzen (1889), is known as the founder of romantic "picturesque" urbanism. One has to differentiate, however, between the two meanings of the German term das Malerische: "picturesque" and "painterly." Sitte is clearly connected with the representatives of modem picturesque urbanism. In his "Townscape Casebook," Gordon Cullen published a collection of photos and sketches to reinvigorate a picturesque way of seeing and thus set forth a basis for the design of

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18

Carter, Rand, John Dixon Hunt, and Charles-Joseph de Ligne. "Gardens and the Picturesque." Eighteenth-Century Studies 28, no. 2 (1994): 267. http://dx.doi.org/10.2307/2739207.

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19

Robinson, Sidney K. "Inquiry into the Picturesque." Journal of Aesthetics and Art Criticism 50, no. 3 (1992): 273. http://dx.doi.org/10.2307/431249.

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20

Meyer, Elizabeth K. "INQUIRY INTO THE PICTURESQUE." Landscape Journal 12, no. 1 (1993): 77–79. http://dx.doi.org/10.3368/lj.12.1.77.

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21

Fichtelberg, Joseph. "Emily Dickinson's Picturesque War." Nineteenth Century Studies 28, no. 1 (2014): 87–108. http://dx.doi.org/10.5325/ninecentstud.28.2014.0087.

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22

Ulyanova, Natalia. "A picturesque interior space." проект байкал, no. 73 (October 21, 2022): 104–6. http://dx.doi.org/10.51461/pb.73.18.

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The dwelling interior is an essential component of everyday happiness. One of the most ancient and effective means to achieve psychological comfort in the house is easel interior painting. The process of creating interior paintings for two very different customers is considered through specific examples. It is shown that the final result should take into account both the personal characteristics of the person for whom the picture is intended and the ergonomic characteristics of the living space, its size, lighting, and so on.

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23

Thomas, Gavin, Lucy Shelton, John Constable, John Hollander, BBC Symphony Orchestra, and Andrew Davis. "Crashing through the Picturesque." Musical Times 136, no. 1828 (1995): 285. http://dx.doi.org/10.2307/1004098.

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24

Plebuch, Tobias. "Listening to Picturesque Music." 19th-Century Music 27, no. 2 (2003): 156–65. http://dx.doi.org/10.1525/ncm.2003.27.2.156.

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25

Ballantyne, Andrew. "GENEALOGY OF THE PICTURESQUE." British Journal of Aesthetics 32, no. 4 (1992): 320–29. http://dx.doi.org/10.1093/bjaesthetics/32.4.320.

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26

Crompton, Andrew. "Fractals and Picturesque Composition." Environment and Planning B: Planning and Design 29, no. 3 (2002): 451–59. http://dx.doi.org/10.1068/b12822.

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In this paper fractals are identified in classical mouldings by means of an algorithm for drawing Levy staircases. It is argued that traditional rules of composition favour fractal forms such as these, and advice on composition, taken from Ruskin, is examined to support this view. Because fractals are ubiquitous in nature their use in design offers a way to appear natural. The lack of fractals in modern architecture may therefore be connected to a lack of interest in picturesque composition.

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27

McGillivray, Glen. "The Picturesque World Stage." Performance Research 13, no. 4 (2008): 127–39. http://dx.doi.org/10.1080/13528160902875713.

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28

Batey, Mavis. "The Picturesque: An Overview." Garden History 22, no. 2 (1994): 121. http://dx.doi.org/10.2307/1587022.

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29

Ballestero, Diego. "Picturesque Savagery on Display." Anthropological Journal of European Cultures 31, no. 2 (2022): 65–88. http://dx.doi.org/10.3167/ajec.2022.310205.

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Abstract This article discusses the importance of commercial exhibitions of Indigenous people in the development of anthropological practices in South America between the late nineteenth and early twentieth centuries. First, it examines the intrinsic links between commercial ventures based on the exhibition of Indigenous people and anthropological practices. These spaces of scientific popularisation allowed the anthropologists to economise the time, economic, material and human resources involved in an excursion to the field in the classic sense. The article then presents and examines the anth

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30

Kozakowska-Zaucha, Urszula. "Jacek Malczewski’s picturesque story." Trimarium 1, no. 1 (2023): 360–71. http://dx.doi.org/10.55159/tri.2023.0101.15.

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Jacek Malczewski was a painter who, in his monumental artistic output, left works revolving around the problems of homeland, freedom and lost identity, life and death, spanning between romantic visions and metaphysics. He was inspired by the art of antiquity, Polish Romanticism, but also tapped into folklore, complicating the meaning of his paintings with symbolism that was not always easy to understand. It was a multi-layered oeuvre, a testament to his great erudition, but also to the imagination and sensitivity of a refined humanist. In his paintings, he also asked about the essence of being

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31

Jacobs, Steven. "Screening Landscapes: Film between the Picturesque and the Painterly." Acta Universitatis Sapientiae, Film and Media Studies 19, no. 1 (2021): 1–16. http://dx.doi.org/10.2478/ausfm-2021-0001.

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Abstract Inherently connected to movement and to a sequential spatial experience in time, the picturesque has been considered as a precursor of the cinematic. In addition, the idea of the picturesque is closely connected to Heinrich Wölfflin’s notion of das Malerische or “the painterly,” which stands for a dynamic style of painting characterized by qualities of colour, stroke, and texture rather than of contour or line. Based on the keynote lecture delivered at the conference, The Picturesque: Visual Pleasure and Intermediality in-between Contemporary Cinema, Art and Digital Culture (Sapientia

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32

SQUIRES, Rebecca J. "The Sentimental Traverse of Claude-Henri Watelet’s Eighteenth-Century Picturesque Garden Isle, The Moulin Joly." Studia Universitatis Babeș-Bolyai Philologia 68, no. 3 (2023): 119–36. http://dx.doi.org/10.24193/subbphilo.2023.3.07.

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The Sentimental Traverse of Claude-Henri Watelet’s Eighteenth-Century Picturesque Garden Isle, the Moulin Joly. Claude-Henri Watelet’s 1774 Essai sur les jardins (Essay on Gardens) was the first French garden treatise to enter the picturesque garden debat

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33

Gannouni Khemiri, Imene. "“Pretty as a Picture”." Journeys 22, no. 1 (2021): 89–106. http://dx.doi.org/10.3167/jys.2021.220106.

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Recently, there has been an upsurge of interest in travel writing, postcolonialism, and landscape politics. However, studies of travel writing addressing the notion of the picturesque have not yet explored the idea of aesthetic sensibility in British travel narratives in the Regency of Tunis. This article examines the aesthetics of the picturesque in three British travel accounts: Grenville Temple’s Excursions in the Mediterranean: Algiers and Tunis (1835); Robert Lambert Playfair’s Travels in the Footsteps of Bruce in Algeria and Tunis (1877); and Henry Spencer Ashbee and Alexander Graham’s T

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34

Lafford, Erin. "William Gilpin's Atmospheric Sympathy." Romanticism 27, no. 2 (2021): 159–72. http://dx.doi.org/10.3366/rom.2021.0506.

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The picturesque, especially as imagined by William Gilpin, has long been critiqued as lacking in social conscience. The picturesque tourist is more often considered as detached from both the views and the people he encounters than as being sympathetically involved in either the local environment or its communities. This essay argues that paying closer attention to the importance and prevalence of atmosphere in Gilpin's picturesque provides an opportunity to reconsider such disinterest, as well as to acknowledge anxieties surrounding an embodied environmental sympathy in his writings that bears

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35

Krier, Léon. "Picturesque comments on Vitruvian architecture." Symmetry: Culture and Science 29, no. 3 (2018): 441–47. http://dx.doi.org/10.26830/symmetry_2018_3_441.

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36

Krier, Léon. "Picturesque comments on contemporary architecture." Symmetry: Culture and Science 30, no. 1 (2019): 108–11. http://dx.doi.org/10.26830/symmetry_2019_1_108.

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37

MUTTER, SARAH MAHURIN. "Godfrey St. Peter’s “Picturesque Shipwreck”." American Literary Realism 42, no. 1 (2009): 54–71. http://dx.doi.org/10.5406/amerlitereal.42.1.0054.

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38

Mutter, Sarah Mahurin. "Godfrey St. Peter's "Picturesque Shipwreck"." American Literary Realism 42, no. 1 (2009): 54–71. http://dx.doi.org/10.1353/alr.0.0037.

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39

Paden, Roger. "A Defense of the Picturesque." Environmental Philosophy 10, no. 2 (2013): 1–21. http://dx.doi.org/10.5840/envirophil201310212.

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40

Komara, Ann. "Concrete and the Engineered Picturesque." Journal of Architectural Education 58, no. 1 (2004): 5–12. http://dx.doi.org/10.1162/1046488041578158.

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41

Hill, R. "Keats, Antiquarianism, and the Picturesque." Essays in Criticism 64, no. 2 (2014): 119–37. http://dx.doi.org/10.1093/escrit/cgu005.

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42

Batey, Mavis. "Two Romantic Picturesque Flower Gardens." Garden History 22, no. 2 (1994): 197. http://dx.doi.org/10.2307/1587027.

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43

Marshall, David 1953 Dec. "The Problem of the Picturesque." Eighteenth-Century Studies 35, no. 3 (2002): 413–37. http://dx.doi.org/10.1353/ecs.2002.0029.

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44

Kainen, Jacob, and Kathleen Pyne. "Whistler, Aesthetics, and the Picturesque." American Art 9, no. 2 (1995): 95–98. http://dx.doi.org/10.1086/424247.

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45

Sharpe, Jenny. "Life, Labor and the Picturesque:." Crossings: A Journal of English Studies 6 (December 1, 2015): 2. http://dx.doi.org/10.59817/cjes.v6i.179.

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The keynote address examines the race-gendering of Indian indentured workers in the colonial imaginary through which Jamaica was remade as a tourist destination during the late nineteenth century. It specifically examines the visual portfolio created by photographers of tropical fecundity and idyllic rural life that would dispel the perception of Jamaican plantations being ruined by the emancipation of slaves. While scholars are critical of the Oriental picturesque projected by these photographs, Professor Sharpe makes a case for a “coolie picturesque”depicting Asian Indians as an uprooted peo

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46

Roy, Samragngi. ""Why must fireflies die so young?" The Picturesque of Caution in the Works of Studio Ghibli." Journal of Anime and Manga Studies 3 (December 14, 2022): 118–46. http://dx.doi.org/10.21900/j.jams.v3.963.

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As opposed to most contemporary usage of the word “picturesque” – which is generally taken to mean visually attractive in a quaint or charming way, or else something that resembles a picture – William Gilpin introduced this term to the English cultural debate in 1792. Gilpin used “picturesque” to typify an aesthetic ideal wherein roughness, raggedness, and ruins would be privileged over smoothness, symmetry and perfection. Over time, his conceptualization of “the picturesque” led to a celebration of disorder, decay, and ruin, a kind of glorification of violence also familiar to the Gothic roma

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47

Slater, Eamonn. "Contested Terrain: Differing Interpretations of Co. Wicklow's Landscape." Irish Journal of Sociology 3, no. 1 (1993): 23–55. http://dx.doi.org/10.1177/079160359300300102.

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This paper looks at how Irish landscape was interpreted in the mid 1800s, when modern tourism in Ireland began. It attempts to discover the ideological structures present in this appreciation of Irish landscape, and it does so in relation with the Hall's description of Co. Wicklow landscape. It argues that there are two ‘socially constructed’ ways to read Irish landscape, the picturesque and the oral interpretations, which create senses of detachment and attachment respectively to the local terrain. It explores in this context how the picturesque corresponds to the way an outsider wishes to ga

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48

GROVES, STEPHEN. "The Sound of the English Picturesque in the Age of the Landscape Garden." Eighteenth Century Music 9, no. 2 (2012): 185–212. http://dx.doi.org/10.1017/s1478570612000048.

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ABSTRACTIn eighteenth-century England, painting, poetry and gardening were often labelled the ‘sister arts’. An increasing interest in English landscape scenes and an emerging taste for ‘nature tourism’ gave rise to the ‘picturesque’ movement. Contemporary writers seldom considered English music as part of this ‘sisterhood’, however, or treated music as a medium for conveying national scenic beauty. When the picturesque was discussed in connection with music, eighteenth-century critics tended to use the concept to explain the tactics of novelty and surprise encountered in German instrumental m

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49

Veligorsky, George A. "British Aesthetics of the “Picturesque” as a Way of Organizing a Fantastic Space in the Story “Tarantas” by V. A. Sollogub." Two centuries of the Russian classics 7, no. 1 (2025): 182–213. https://doi.org/10.22455/2686-7494-2025-7-1-182-213.

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The article examines the story “Tarantas” by V. A. Sollogub, perceiving it from several angles. First of all, as stated in the title, the story is considered in the context of the British aesthetic category “picturesque,” which has been developed starting from the middle of the 18th century, in the works of William Gilpin, Uvedale Price and Richard Payne Knight, and adopted by Russian writers of the early 19th century. By means of this category Sollogub creates a gallery of fantastic and pseudo-fantastic situations, which serve as illustrations of the three types of the fantastic, according to

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50

Michasiw, Kim Ian. "Nine Revisionist Theses on the Picturesque." Representations 38, no. 1 (1992): 76–100. http://dx.doi.org/10.1525/rep.1992.38.1.99p0110e.

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