Analysis Of The Palisades By John William Hill

Accordingly, the nature was one of the Romantic themes adored by numerous readers during this era. The author’s description of untamed environment and striking sight inspires and impresses the readers. Soothing and relaxing people through these illustrations, author takes them away from the impersonal society. For example, The Most Sublime Spectacle on Earth by John Wesley Powell vividly displays the spectacular views of Grand Canyon to make readers forget the depraved reality. “The carving of the Grand Canyon is the work of rains and rivers,” Powell stresses that Grand Canyon is the splendid work of nature, not the artificial work of

Cole has no restrain in describing the beauty of all the elements found in the American scenery. He talks about the mountains, the sky, the streams, the sunset, waterfalls, all of which are overflowing in richness, full of magnificence, and unsurpassed by any other. For Cole the scenery and nature are subjects which must be present in the souls of every American. While he considers himself and even others underserving of “such a birthright”, he is thankful for the beauties given to us by nature. Cole suggests to his audience that the reason behind him painting natural scenes relates to the experiencing of a particular emotional response while doing so. This is a response which can only be compared to a “calm religious tone”, full of “tranquility and peace.” Witnessing the beauties of the American scenery, anywhere one goes, makes one realize how “the sublime and beautiful are bound together in an indissoluble chain. In gazing on it we feel as though a great void had been filled in our minds.” Cole places great emphasis on the importance for all members of society to learn how to cultivate “a taste for scenery.” This can be achieved by appreciating the physical beauty of nature and the ability of said beauty to provide mankind with a different perspective about life and with

People and the landscape are inextricably linked and consequently each play a role in shaping the other. The texts we have studied show the implications for the individuals present based on their treatment of the landscape, highlighting the connection between the two. Both Judith Wright in her poems “Brother and Sisters” and “The Hawthorne Hedge” as well as Michael Wilding in his short story “As Boys to Wanton Flies” showcase the emotional ties between the individuals and the landscape. Both composers, through their chosen text demonstrate how the individuals are connected, influenced and shaped by the landscape showing that they are not merely inhabitants but are a part of their chosen landscape. This has been done to highlight the involvement

In the essay, “A Literature of Place”, Barry Lopez expresses the importance of nature as it applies to human life. Through this he states that humans’ imagination are inspired by the scenery around them. Lopez revolves around a central perspective; Ancient american literature has always been rooted in nature. By acknowledging that modern human identity has been interpreted by nature, Lopez describes how the landscape of an area can shape the structure of the communities and how it can help with spiritual collapse. Nature writing has often been summarised by being one of the oldest threads in american literature. With our nation's aging one needs to reflect on their literary past; therefore, Lopez insists that we find our path to nature that

Humanity is but a facet of the sublime macrocosm that is the world’s landscapes. In the relationship between man and landscape, nature is perpetually authoritarian. In her free-verse poems, The Hawthorn Hedge, (1945) and Flame-Tree in a Quarry (1949), Judith Wright illustrates the how refusal to engage with this environment is detrimental to one’s sense of self, and the relentless endurance of the Australian landscape. This overwhelming force of nature is mirrored in JMW Turner’s Romantic artwork, Fishermen at Sea (1796). Both Wright and Turner utilise their respective texts to allegorise the unequal relationship between people and the unforgiving landscape.

The painting depicts a singular mountain with trees and abstract landmasses in the foreground. The trees are placed in such a way that they seem to echo the shape of the mountain. This is an example of Cézanne’s attempt to created a structured composition out of the scenes that he observes in nature. Cézanne was not depicting nature as it was, but rather he was, as he called it, making “a construction after nature” (Stokstad,1013). This is one idea that lead Cézanne away from the impressionists, who were more concerned with reproducing on canvas exactly what their eyes perceived. Another thing that was different between Cézanne’s style and the impressionists’ was the way that he applied paint to the canvas. For example, in this painting, the trees and land in the foreground are loosely painted in; their forms are created by an amalgamation of colored blotches. The blotches of color often bleed into each other, and the forms that they represent begin to dissolve. The image is flattened by the ambiguous forms in several spot in this painting, creating a disruption in the illusionistic space and bring the viewer’s focus on the inherently flat surface of the painting. The most effective technique that Cézanne employs in his attempt at depicting space in this painting is atmospheric perspective. Coloring the mountain with the same shades of blue

The painting by Albert Bierstadt “Rocky Mountain, Lander’s Peak” is truly magnificent. Its high horizon line portrays a wide, vast piece of land containing a Native American village besides a lake, sitting below the mountains in the background. The atmospheric perspective is present here with the mountains being painted lighter, and not as detailed, than the rest of the painting. There is a pretty prominent presence of a one point perspective, with the vanishing point being the light, oasis-looking, waterfall in the distance. The colors vibrancy are dependent on the clouds in the sky, being it is clearly not a bright and sunny day, giving a more realistic feel to the whole composition. The focus point, the waterfall, is painted with bright

4. Space- Perspective is demonstrated in many ways. This artwork takes up almost the whole canvas. The horses on the edge look like they were maybe even squeezed in. All of the characters in this artwork look to be congregated to the middle of the painting, besides the villages in the distance. Linear perspective is used in the placement of the villages in the background and in all the men and horses, which are grouped in the middle of the screen. Looking at the features in the painting I notice the use of overlapping and vertical placement, which both imply depth. The horses overlap each other as well as the gentlemen and other elements of the painting. The brown horse’s head overlaps the black one hiding its mouth. The villages and hills in the background appear to be very far away (diminishing size); they look smaller and distant from the rest of the main aspects of the painting.

We can also see the use of black shades to create a hole at the bottom part of the rock. With his excellent use of colors, we can identify the good, healthy and green grass from the bad, unhealthy, brown grasses. Looking beyond the main focus of the painting, he uses colors to separate the sky from the land in the background creating a solid form of perspective on the painting. He also uses colors to create water forms as seen behind the young character. Now, for the sky, he uses shades of white to magnificently differentiate the thick clouds from the light ones. He also uses this to create a source to light to the whole area. All these put together creates a splendid, realistic and familiar atmosphere for the viewers to relate with.

The Hudson River School was not an actual school; it was a group of landscape painters whose vision was influenced by America’s countryside. They were America’s first artistic group that was perceived as not following the traditional rules of subject matter (“Hudson River School” hrsart). The painters depicted nature and civilization coexisting peacefully. Additionally, not all paintings had civilization on them; all the paintings were intended to not represent a real place. The Hudson River School used landscape painting with a small part of civilization to demonstrate the ideal harmony between civilization and nature; that is, that civilization is too insignificant to even effect nature. This harmony is demonstrated in the paintings of Durand,

This painting shows how close and codependent humans and nature were. How well humans worked together with one another and their world. How peaceful those that are close to nature are, which is why it (nature) must be celebrated and appreciated.

Landscape photography is often considered a metaphor for something else. The experience of nature through photographs is often sublime and evokes feelings of overwhelming magnitude and awe, feelings often provoked by the boundless essence drawn from the power of landscape. This essay will investigate the Edward Burtynsky’s photographic series, Oil, and his approach to find a sinister beauty within the damned. The underlying metaphors poised within Burtynsky’s work in regard to environmental change, in pursuit to document nature transformed through industry will be the central idea in this argumentative dissertation.

The three selected tapestries (Beyond, The Surface, and Verdant) are extremely difficult to place squarely in a specific genre. Each one is two-dimensional, approximately eight to ten feet long and about ten inches wide. Vibrant, strong colors abound in each of the works. Their appearances, as well as titles, lend them all to be classified as abstraction pieces representing underground, the Earth’s surface, and forest-like location. Contemporary abstraction is mostly likely the best description of these works.

The seventeenth century painting, A Wooden Landscape with Travelers, by Joris van der Haagan was a great example of a work that was meant to be an allusion of picture. The detail of this work is extreme, with every leaf to every blade of grass carefully painted separately in order to build up the illusion that it was real life. This painting is nothing new of the time because many artists at this time were focused on the extreme realism of art. However, as time went on, artists like George Bellows began to work in a new style that used a looser, more careless, style of brushstrokes. This technique that Bellows used is known as colorito. By examining his painting up close, the viewer would notice that the people in his landscape are simply quick brushstrokes of paint, made to look realistic from afar, but simply lines and splotches from a closer viewpoint. Unlike Hagaan’s painting, where everything is so finely tuned and perfected, there are imperfections and fewer details in Bellows’

Using natural phenomenon as a starting point for abstraction, Mark Grotjahn’s paintings straddle the polarities of artifice and nature. His painting, Lavender Butterfly Jacaranda over Green (Fig. 2), expresses his fascination with nature. Transferring the experience of observation to an intrigue of creative possibility, Grotjahn harnesses the mysticism of nature through aesthetic formality.