Casson Landscape Analysis

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

Jackson, Franz Johnston, Arthur Lismer, J.E.H. Macdonald and F.H. Varley” (Varley, 2013, P.2). They met in Toronto between the times of 1911 and 1913 except for Harris who was rich and made his fortune doing commercial art. This was set to be the beginning of marvellous painting of the Canadian landscape that displayed our culture that has yet to be acknowledged by the masses (Varley, 2013).

Throughout history, societies have defined and transformed themselves through their art. When looking at works of art today, a person sees not only the work of art itself, but also the world from which it came from. The same is true for this transformation mask, which reflects the works of art and beliefs of the Northwest Coast Tribes.

14. What immediate developments in the seventeenth and early eighteenth centuries might have influenced the cultural patterns depicted in these illustrations? How does the broad context of the Columbian exchange help you understand these painting?

I chose to write about Richard Wilson’s ‘Wilton House From the South East”. I chose this work because I associate nature with serenity. I really enjoy the feeling of tranquility one gets when in the wilderness, and that is the first thing that came into my head when viewing the art. Both groups of people in the work seem to be very relaxed and enjoying themselves by the water.

Emily Carr is one of the most recognizable and celebrated Canadian artists. Her art embodies the fusion of modernist European techniques with a uniquely Canadian subject matter. Although troubled as a woman, Emily Carr became a progressive Canadian artist because of her unprecedented use of modernist styles in a Canadian setting. To explore her painting style first I will examine her role as a woman in the art world. Secondly, I will analyze her artistic inspiration from modernist movements. Thirdly, I will explore how her consistent subject matter of landscapes and indigenous culture. Together, these elements combine to make Emily Carr a distinctive painter in Canada.

This piece depicts the “men at work on the farm reflects New Deal era values of productive labor.”12 In this piece there are four men hard at work to build houses to live in and collect livestock for food. These men are seen cutting wood and placing said wood on houses for the roofs, as well as carrying live stock into one of the buildings for food preparation. In the background you can see the dark blue sky and green landscape and the many trees that go on for miles. Showing the great resources of the land they had settled

As Canada is influenced by European art, people in Canada are in search of art style that can call their own. After 1900, various groups of people such as a group of seven, Automatistes, and Regina Five emerge to create a unique art style that can call as Canadian art. Although the Carr and Humphrey are not in these famous groups, they are famous in their own way and leave a mark in Canadian art history. By examining the life of the artists: Carr and Humphrey, we can know why they choose their subject matter, what influence them whether people or philosophical ideas, how the social and political context that influence the type of artist are making and how do their artwork reflect upon Canadian and its identity. By discussing the artist’s life,

In this painting by Ross Dickinson it shows the impending fate of the rich individuals that populated the 1920s. With the mountains and smoke in the back creeping up of the green fields and houses that showed the prosperous life within it. Some areas getting hit faster than others, since not everyone during the 20s were ridiculously. Like George Wilson and Myrtle from The Great Gatsby who were still hanging on but could never afford the lavish life Gatsby possessed. Unlike them George and Lennie from Of Mice and Men were stuck in the time that was overtaken after that during the 1930s, but in the painting it would be shown as those little openings of grass that had already been overtaken by the mountains that have no homes and sign of life.

Paraskeva Clark was a Canadian painter born in Russia, and she is an important painter in the history of Canadian art, especially in the context of immigrants who came to Canada and brought with them their own culture. “Considered one of the most accomplished Canadian painters of the 1930s and 1940s, she was one of few Canadian artists of the time who used her art to convey her passionate political convictions” (Library and Archives Canada, 2000), something that was incredibly controversial – especially for women – and yet hallmarked her as one of the most incisive and critical painters of the 20th century. This had a lot to do with the life she had led and the struggled that had helped to define her not only as an artist, but as a woman and

Australia has a prolonged tradition in portraying and illustrating the complex and breathtaking landscape which surrounds it. The landscape representation has been extrapolated along time in different backings as painting, literature or cinema and embodies the post-colonial performances. According to the Tweed River Art Gallery (2009), Macleod is influenced and astonished by the greatness and sharpness of the Australian landmass and this is what he intends to represent in his pieces. His sources of inspiration embrace such impressive dissimilar environments as New Zealand, the central Australian desert, and Antarctica. Euan Macleod’s work suggests an utopic world where the countryside is prosperous and wealthy and the human manifestation is

In art we had many assignments, most to which were boring. For example, the popcan landscape. It was boring because we drew the same things repeatedly. The most enjoyable part of the popcan landscape was when I drew popcan-people falling to their demise. Additionally, the one point perspective city wasn’t fun as well because it required trees and roads which were non-existent in my imagination. I wanted it to be an abandoned city that was turned into an insane asylum that lacked lifeforms except the crazy people. However, we weren’t allowed to explore our creativity to such levels in which it would be fun even if our imagination is quite insane. Art is supposed to be enjoyable and make you feel something; art is not about following all the

In this picture, Victorian style house stands alone in the field. A railroad track cuts through the foreground. There is a bare sky behind the house with no secondary objects in the immediate surroundings of the building. this enables us to keenly focus on the articulation of the building and its relationship with its environment.

When one considers the term “Art Nouveau,” what comes to mind most immediately is “images of a European-wide invasion [characterized] by the restless dynamism of organic form”(Silverman 1). For me it is usually the work of Alphonse Mucha– his mysterious women surrounded by the beauties of nature. Often my Art Nouveau fantasies take shape in the odd fungal-shaped stained-glass lamps of Tiffany. Or sometimes they surface as the romantic Parisian posters I’ve seen at Pier One, advertising champagne or cats noir or bicycles or the like. But no matter what ones notion may be of what Art Nouveau looks like, there is a feeling that accompanies it that is at the heart of the style’s appeal. It is difficult to define or describe what

Centered in the house is a ramp that takes you on a journey from the underbelly of the house on the ground floor to the main body on the first floor and then on to a roof garden. Throughout the house views of the surrounding nature are framed, your mind is free marvel, as the forms evoke a sense of exploration and delight. Villa Savoye is better experienced than viewed through an image, only then can you understand the greater meaning and purpose that informs its beauty. One might argue that this is not beautiful architecture and a poor example, however upon visiting this house you cannot deny that the house is beautiful in its own right, evoking a response from the occupant. Le Corbusier’s masterpiece is moving; therefore achieving what he believed architecture to be about. This experience and the emotion that is felt can only be described in words. Shapes play a big role in the architecture but clearly the meanings behind are more important.