How Did Euan Macleod Influence The Australian Landscape

The first page depicts a pristine Australia with vivid blue sky and red earth but as the British begin their colonisation, introducing vehicles and technology into the country, the blue of the sky slowly fades as the dirty pollution takes over sucking up the colour of the land as well. The symbolism of the scientific and mathematical formulae, test tubes and plans positions the viewer to recognise that white man, in his efforts to learn about the land through experiments, is in fact destroying a land with which the natives had lived in harmony for many years. The irony of this is particularly obvious when the illustrator juxtaposes a picture of cows attached to milking machines and marked as to what cuts of meat they will become, together with branded and tagged sheep, with a picture of a barren piece of land and empty waterhole full of dead fish. Tan reinforces this irony through the use of unnatural colour on the page with the sheep and cows suggesting to us that the mass production of non-native animals for food is unnatural and is destroying the natural food sources of the land through pollution and

Similarly the idea of Australian life and isolation is depicted in ‘Journey: The North Coast’ where poet is eager to reach home. Perhaps the poet desires to visualise beautiful Australian landscapes as to allow the readers to view the magnificence of flora and fauna in contrast to the man-made destructions. It appears that the poet has been isolated for ‘twelve months’, and Sydney in this case acts as a barrier of poet’s desire towards nature. The title itself symbolises poet’s home and the destination which contradicts to the urban

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.

Australian landscapes have long been used to place fear and anxiety in the Anglo-Australian’s psyche. This anxiety and the requirement for Indigenous peoples to negotiate white ideals is reflected in current Australian literature and cinematic identities. This essay will discuss the critical arguments of what makes the chosen texts Australian literature. This discussion will be restricted to the critiques of the film Lantana directed by Ray Lawrence and the novel Biten’ Back written by Vivienne Cleven. The will firstly look at the use of landscape as a crime scene and how this links to the anxieties caused by the doctrine of terra nullius and the perceived threats from an introduced species. It will then look at the Australian fear of a different ‘other’ followed then by a discussion around masculinity and the need for Indigenous people to negotiate white ideals. The essay will argue that Australian literature and film reflect a nation that still has anxieties about the true sovereignty of the land and assert that Indigenous people have a requirement to fit in with white ideals.

The identity of Australia as a place comes from both its physical features and the atmosphere, which is often created by its physical appearance. Three artists who have depicted the Australian landscape in different styles are Arthur Streeton, John Olsen and Sally Morgan. Streeton’s works are in a realistic but lively style typical of the Heidelberg school. He was intent on recreating the light and warmth of the land. Olsen and Morgan’s works, on the other hand, offer more abstract interpretations of the land. During the 1960s and 1970s, Olsen captured the essence and the energy of the landscape with his bold and bright brushwork whilst Morgan’s work from the 1980s portrays Australia from an indigenous perspective, which she achieves through her use of Aboriginal symbolism and cultural imagery.

Robert Gray is an Australian poet whose work is closely linked with nature. He grew up in the post ww11 era, and lives on the north coast. The poems ‘The Meatworks’, and ‘Flames and Dangling Wire’, express how he feels about life, his experiences and his beliefs. His poetry has such an enduring nature because it can be understood in so many different contexts, and includes universal themes which remain relevant to societies past, present and future.

Throughout history the unique and changeable Australian landscape has inspired a diverse array of artistic responses. Impressios of its power and beauty, expressions of individuals' responses, symbolic religious orientation, the range of landscape art works extends onwards. A great example of the vast variations of styles can be seen in the artworks of Glover, Drysdale, Berkowitz and Reid.

The illustration in #7.16, Trestle Work, Promontory Point, Salt Lake Valley by Andrew J.Russell is an image of a railroad track connecting two paths with men working on the site. Russell believed that the west was a great location to conduct his work because of the openness and freedom that was out there. Also to observe the natural scenery that it has to offer, which many have traveled to obtain such freedom and visual aspects of nature. As for #7.17, El Eaches or Three Brothers by Carleton E. Watkins is a description of a landscape winter forest by a lake, his purpose for this image was to capture the viewer's attention with the richness and the detail of the forest. For an individual to absorb the composition of the mountains in the picture

Euan Macleod was born in 1956 in the New Zealander city of Christchurch. After have completed his Diploma of Fine Arts at Canterbury University (1979), moved to Sydney in 1981, where still remains and works on his paintings. Macleod has regularly shown his creations in exhibitions in Australia and around the world since 1980. His collections are embodied in several private and public expositions, enclosing such as the Te Papa Museum (New Zealand), the National Gallery of Australia or the Metropolitan Museum in New York. In addition, he has obtained numerous prizes, among others, the Archibald in 1999, the 2000 Tattersall’s Landscape Prize, the Sulman Prize in 2001 and the Tattersall’s Landscape Prize in 2009. (Fiumano Fine Art, 2015).The three

Alfred Joseph Casson’s (1898-1992) art work captures more than the historical representation of the idyllic landscape of the Canadian wilderness. It is the premise of this paper, Casson’s paintings reflect and represent the economic and political environment of two time periods - Post World War I and the Great Depression, and post-World War II. The two examples of his paintings are, The Old Mill Elora, (35.6 x 40.7 cm), 1930, watercolour on paper, in private collection, painted post-World War I during the great depression; and the other Prelude, 1945, oil on Masonite, (76.2 x 91.5 cm), in The Faculty Club, University of Toronto, Toronto, Ontario, painted post-World War II (Paul Duval, 1980, p. 18). Comparative analysis of these two paintings will support this theory as well as research. Casson’s personal perspective was influenced by the economic and political environment at these times which were recorded through his art work, both in his commercial career as an engraver and designer, and, as an artist.

Regarding Macleod’s figures, they are embodied in an elementary way and commonly naked, without clothes, surrounded and stunned by the natural background. They may be arranged on the canvas wandering through the woods, alongside ponds and waterways, in shelters, beside fire, carrying barrows or pushing boats. The figures are illustrated as giant and massive in his paintings so the landscape

She is the wife of Gerald MacLeod and the mother of Rennie MacLeod. Although Gerald and Elizabeth are separated for the entirety of the story, she holds on to the dear memories she has of Gerald, even though they cause her to suffer.

Long known as being one of the best travel destinations in the world, Australia is home to a wide range of unique attractions. Not only are some of the world's most photogenic beaches located in this country, Australia is also home to many different types of natural geographical features that make landscape photos some of the best you can find anywhere. For example, twisted snow gum trees can turn a simple photo of a cattlemen's shelter into an amazing photo that brings your imagination to life. Snow in the Victoria region of Australia is a wonder to catch, especially when the photos show fresh, undisturbed snow in Australia's amazing natural state. Displaying a series of Australian landscape photography in your home or office is a simple way to decorate using the natural world to bring life into your spaces.

This last winter I was lucky enough to have the chance to spend more than a month in New South Wales, Australia. All around the cities in New South Wales I saw many pieces of art that I found absolutely fascinating. All of these paintings seemed so simple, but the more I learned about them I realized there was lot of history in these paintings. The Style I became most interested in was the Western Desert Art, how it is evolving, the many emerging styles of it, and its many collections. This art movement emerged from the Aboriginal settlement of Papunya in the Northern Territory of Australia in the early 1970s. In 1971 the art teacher posted in the village Geoffrey Bardon, encouraged some of his traditional artists to paint a blank wall. This

The first environmental art exhibition entitled “Earthworks” was directed in October 1968 by Thomas W. Leavitt. That is about the time when the landscape art movement emerged, with its goals to liberate art from the galleries and museums, to take the artistic practice outdoors- into ‘natural’ or relatively untouched spaces in one sense, but also into neglected areas such as tree ways, industrial riversides and despoiled and polluted sites. This movement outdoor signalled both a conscious