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
On Saturday, November 4th, I visited the Denver Art Museum in Denver, Colorado. The piece of art I decided to write about is called “A Mountain Symphony (Longs Peak, Rocky Mountain National Park, Colorado)” This two-dimensional oil on canvas painting was completed in America in 1927 by Sven Birger Sandzén. This painting has not been on public view since 1927 and is located in the Denver Art Museum in Denver, Colorado. It was a “Free Day” at the museum, so I decided to attend by myself. I was unable to get a picture of myself in front of the work of art I decided to write about, but I did get several pictures of the artwork and a picture of myself with the “Free Day” sticker. I decided to write about this work of art because it was the only piece in the museum that really stood out to me and really caught my attention. A Mountain Symphony is a lively, beautiful landscape painting with a vibrant pallet filled with luminosity and broad brushstrokes. The sculptural quality of the paint surface reflect the influence of turn-of-the century modernist techniques. The balance of color and light brings happiness and joy to the viewer.
In the poem “To Paint a Water Lily” by Ted Hughes, the speaker conveys his attitude toward nature as perplexing, complex, and deceiving. He also expresses his opinion of the artist and the difficulties brought on by him trying to paint and recreate not only the picture of a water lily and its natural scene, but also capture the intense environment that is both peaceful and full of constant activity. The author achieves this through literary techniques such as: imagery and juxtaposition.
Robert Frost, author of “Nothing Gold Can Stay”, and Mark Twain, author of Two Ways of Seeing A River, explore the idea of beauty by putting their personal feelings into what they see. Both of these American authors use nature to interpret the ways of beauty into words. Frost and Twain go hand in hand with each other in the aspect of their diction. While Frost and Twain both use imagery to demonstrate fleeting beauty, frost includes time indicators, while Twain uses rhetorical questions.
In the second half of the twentieth century, artistic movements made pushes in order to move beyond the traditional gallery space, changing the terrain of displaying and making art. An artist’s body of work no longer needed to reside inside of a gallery or art collection, and artists became free to explore other ways of creating and displaying work. In this vein, Andy Goldsworthy works sculpturally with natural media, and leaves the sculptures within a particular environment, often expecting his work to decay quickly. Many times, the only evidence of any art he makes is the photographs taken during the process. By more traditional standards, art of this nature is entirely contradictory. What is the point of pieces of visual art that cannot
In art, there are qualities that speak louder than words. It expresses many different messages and emotions and each person has an experience different from the next. In this paper, I will be discussing two artworks I encountered. The piece is a good example of how people can encounter different experiences in one piece. I attended the Orlando Museum of Art a while back with family and overall enjoyed my experience. On my visit, I found the museum quite impressive and felt a deep connection with specific pieces.
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
Robert Smithson’s, “Spiral Jetty,” is an example of earthwork art. In Smithson’s 1972 essay, “The Spiral Jetty,” he explains his first impression of the area where he created one of his best earthwork projects. Throughout this essay, Smithson recounts how his work was built and explains some of his artistic intentions behind the piece. Earthwork art is a type of process art that is also related to minimalism due to its nature of the aggressive character and makeup of bold, “unitary” forms. His essay placed a strong emphasis on how the integration of literature and visual art can develop the perception, interpretation, understanding, and sensory experience for viewers.
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.
Elizabeth Gower is a Melbourne based collage artist. She uses printed packaging and other familiar household detritus as her source material to create works of intricate geometric patterns. Her small and delicate new work, Cycles and Matrix, invites closer inspection in the Sutton Gallery’s simple unpretentious space. One is mesmerized by the repetitions and multiplicity of the layering of discarded junk materials, transforming the chaotic waste material of the 21st Century into ordered beauty.
In this essay I will be comparing two poems which show connections between people and the places in which they live. The two poems I will be comparing and contrasting are “Blessing” by imtiaz Dharker and “Island Man” by Grace Nichols. Both of these poets express their feelings through these poems. Grace Nichols allocates her experiences of how people feel when separated from the environment and place they lived in for such a long period of time. On the contrary Imtiaz Dharker uses the poem “Blessing” to convey the importance of water for less fortunate people. From both of the poems I have chosen I can see that the poets have written about something they feel is important. The reason why I have chosen these two poems is because both of the
Mattingly transformed personal belongings into sculptural forms that she later incorporates into photographs and performative actions. The sculpture is being pulled on the side walk by a woman who is facing down towards the sphere, while the people in the background is facing away from her, could suggest a lack of interest in her possessions being tugged across the floor, her face expression is relaxed yet her body expression shows she is struggling to move the sculpture. Mattingly is trying to show another path to having an ecologically sustainable future. She believes that humanity will survive only if we reduce our footprint on Earth. determined to live with just the essentials, she recording every object she owns and looking back as to why she had the objects from the beginning. Mattingly work is trying to show one’s obsession of a good life. How we exclude the human’s dependency. Showing that we had a responsibility that we don’t think highly of. we do not know that something is wrong until it had been
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.
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.
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.