Deborah Bright Landscape Summary

Early Landscape photography used the same principles as painters in order to create pieces of art. Before the 18th Century, artists used landscapes as backdrops and as a frame for the principal subject. Towards the later part of the century, however, artists such as Nicolas Poussin started to romanticize the environment, instead using it as a principle subject in paintings.

“So long as the human consciousness remains within the hills, canyons, cliffs, and the planets, clouds, and sky, the term landscape, as it has entered the English language, is misleading. ‘A portion of territory the eye can comprehend in a single view’ does not correctly describe the relationship between the human being and his or her

“The landscape, the whole great circle of it, grassheads, scrub, water, sky, quite took his breath away.” (Pg 17)

In chapters two and three titled “Sites” and “Movements” respectively, Howard makes the case that there is a “dialectical” relationship between the subject and the landscape (both social and physical) and

Landscaping is an overwhelming task, but professional fertilization & weed control Frisco TX will ensure your lawn, trees, flowers, and shrubs add appeal and value to your home. While your home most likely already has grass, you may not know the proper techniques to care for your lawn. Using this guide and the help of professional lawn care technicians, your fescue grass will be healthy and attractive.

McClelland’s learned needs theory can be utilized in order to explain why the workers at Brewster-Seaview Landscaping were motivated during the first summer. According to McClelland, the three needs can be strengthened, or weakened, which affects the workers’ level of motivation. As discussed below, these needs were strengthened by Joe during the first summer, which resulted in an output 15% above other companies.

The movie I am analyzing is Manufactured Landscapes by Edward Burtynsky. Burtynsky is an artist well-known for his photography; however, the film is beautifully executed with compelling shots and movement. This film is a documentary of when Burtynsky was in China where her captured the effects of the industrial revolution. He focuses on the materials needed to develop these products and how people use/implement them into their lives.

In the early nineteenth century landscape artists painted scenes of America’s east side near the Hudson River, but by the mid-nineteenth century Landscape artists tended to paint portraits of the newly explored western territory and the South American tropics to show a more extravagant side of the United States.

I am analyzing the form and content of a stylized painting entitled The Palisades by John William Hill. This was found in the collection section of themetmusuem.org which was painted during the pre Raphaelite movement; when artist emphasized meticulous detail in what was observed rather than imagined nature. This artwork shows the aesthetics of nature, depicting a peaceful scenery with spacious green acres during the year of the 1870s. During the late 18th centuries, natural resources weren’t highly industrialized and that in itself shows how nature was essential for all human species. I argue that this painting shows how everything in nature connects and communicates with one another.

The oil on canvas landscape painting does not reveal the name of the painter, but instead it leaves the observer with several explicit and implicit clues which may lead the viewer a step closer to its creator and its reason for existing. Additionally knowing that the painting was created in France sometime around the mid 17th century narrows it down to a few possible influencing eras. Moreover, having the freedom as a spectator to make assumptions based on legitimate evidence lead me to think critically and got me to figure out the painter’s background information, intended audience, intentions, and etc.

Barely visible in the top part of the painting is the glowing of yellow sunlight embraced by deep bluish purple skies. Rolls of dark blue billowing mountains mask the background barely reaching the highest plane. Lush green scenery overlays across one of the slopes of the mountain. Scattered across the landscape are A frame styled village homes, some platformed upon a hill and some closely winding toward the dark blue mountains. The rich sandy dirt path seems to hug around the homes. And at last lies forefront the enriched symbolism that adds further evidence that this indeed is a painting inspired by what Emily Carr has observed of indigenous culture and their artful expression and use of material. The up-roaring hill that rests upon the forefront as it swiftly fades to a lower dimension elevates the totem poles and its details carved within. Lush triangle shaped mounds rises from the closest focal point and cuts away from the peachy toned foreground One could wonder how in such times such as in the 1920's could paint something that appears greatly modern, indeed Emily Carr provides just enough cue and subject material to represent her techniques as well as upon where she drew such inspiration in her landscape painting pertaining to an enriched Aboriginal cultural influenced

These early paintings depicted the sublime elements of land and nature (Cantrill & Oravec, 1996; Elliot, 2006; Sandweiss, 1991). Paintings of the Roman Empire exhibited landscapes with a foreground, middle ground, and background similar to positions on a theatrical stage (i.e. upstage, middle stage and down stage). The foreground typically contained a large tree or side of a cliff, called a coulisse. The middle ground depicted a human or animal, sometimes a river or even a ruin to lead the viewer’s eye into the scene. The background contained the horizon framed by the objects of the foreground. Key to these paintings was the harmonious coexistence of humans and all of Earth’s inhabitants. Near the end of medieval times, painters applied the rules of math and architecture to render the principles of perspective to accurately represent depth and perspective with a true vanishing point. Renaissance painters revered classical Greek ideals in their paintings, a practice that continues even today. In the 17th and 18th century, landscape was the backdrop to the larger biblical or mythical stories depicted in paintings. Paintings also served as records of instrument and painters routinely were commissioned to accompany British, Dutch, Italian, Portuguese and Spanish explorers as they colonized the western world. With colonization, these paintings reinforced status as well as expansion of one’s

The View from Montreal in the Mosel valley was taken by August Sanders between the late 1800 to early 1900. To capture a landscape you need to plan and observe the area by being able to understand and read the shapes, contours and sunlight. Landscapes are portions of sceneries which we see in a single viewpoint. This is all important to work with because of the popularity in the photographical subjects. Light can transform a landscape and there for it was important I think that Sanders had to make sure the composing was done correctly. The river is adding great depth, which to me would be the focal point of the image. The top section of the image that presents the sky shows the rule of thirds. Landscape bushes in the front

In Nature & Landscape: An Introduction to Environmental Aesthetics, Allen Carlson proposes that scientific knowledge can enhance our aesthetic appreciation of the natural world. He draws a connection between technical know-how used in the context of natural landscapes and art history or criticism in the context of conventional art forms. In either case, the viewer would find relatively more meaningful experiences of aesthetic appreciation than if one looked at a painting or landscape without any prior knowledge about it. Carlson endorses this point within his larger Natural Environmental Model, which asserts that though the environment is not entirely of our creation, it does not mean that we have to approach it without any prior understanding.

Claude Lorrain’s Pastoral Landscape with the Ponte-Molle portrays this message by his elegant portrayal of the landscape.