Jan Brueghel's Extensive Landscape With Travellers On A Country Road

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

(Krantz’s Grand Isle Hotel Picture of painting by Tracy Warhart Plaisance) (Reflechir: Vol.1. Les images des prairies tremblantes: 1840-1940 by Chénière Hurricane Centennial Committee)

Pieter Brueghel's painting tricks the observer. The viewer is first drawn left, where a red-shirted farmer and his horse, plowing a hill, descend into shadows. The eyes then wander

Through the immersion of one in a variety of physical environments, the manipulation of genre, form and perspective presents a polysemic representation of a diverse range of landscapes, in turn allowing responders to develop complex understandings into the human psyche. Specifically, through the interwoven utilization of complex allusions and personalized outlooks Alain De Botton’s The Art Of Travel shapes humanities greater knowledge of traveling’s impact on the human behavior and perception. Likewise, this notion is extended amongst Kenneth Slessor’s minimalistic, poetic piece North Country in which the composer highlights man’s dichotomous relationship with the physical world, and how ongoing, differentiated experiences cultivate interpersonal growth and develop individualized standpoints towards the wider globe. Consequently, both texts elicit portrayals of innumerable landscapes, which foreground the intricacies of civilization through the construction of a piece that reveals the subjectivity of our human mentalities today.

The St. Louis Art Museum has many intriguing pieces of artwork, but my eyes seemed to navigate towards Thomas Cole’s pieces. Research has shown that Thomas Cole was best known for his landscape art, but through the portal of America’s wilderness and it’s association of God. Nature, human life, and mortality were the key viewpoints

Space and colors dominates this piece of art. The artist used a three dimensional space where the road angle created a 3-D look. The road is going narrow as it goes towards the back part and the artist make it look like more realistic by making the trees smaller as well. White and blue color dominates the drawing. Blue symbolizes so many things

The next piece is that of artist Henri Rousseau, born on May 21, 1844, in Laval, France. Rousseau’s painting “Suburban Scene” is termed a landscape painting. This painting was chosen particularly because the subject of a housing community and the artwork represents our world of real estate. The painting depicts a peaceful neighborhood, showing a lake and people fishing, as a real estate company we are matching individuals to communities as portrayed in the portrait.

Beside the pile of straw which has a wheel leaning against it, a farmer is stooping to collect timbers. Before a thatched cottage in the middle of the painting, several farmers carrying farm tools and riding horses silhouetted in the shadows. They form in groups as if they were discussing some deliberate issues. On the other pile which sits in the other side of the sandy road, a slightly stout farmer with a straw hat is sitting on straws to have a rest. Beside him, an older villager leaning on his stick and a comparatively shorter man who is carrying a basket are talking to him as if they were pleading him for some reason. The trees extend along the sandy road in a diagonal line, creating a spatial demarcation. In the far end of the road, there is a vague tall building with pinnacle roof. The sky above, which takes up nearly half of the painting, is pale and dusty, suggesting the end of the day in a hot arid climate.

Painting landscapes was very important during the 19th century. Thomas Cole was one of the most important figures in landscape painting in the United States. He went to many places searching for nature, which he painted to show the unmatchable beauty nature creates. His works of art helped people see and take pride in their great land, which was called America. Cole’s works were often made people feel like they needed to go out in nature and discover the inspiring world of mother earth.

I attended the Art & Geology: Landscape Impressions exhibition in the Martha Gault Art Gallery located on campus. The art work was from students who go here at Slippery Rock University and was a collaboration between the Art & Geology department and the Geography & the Environment department. The students went to the Badlands National Park in South Dakota. Dr. Patrick Burkhart has been taking students the Badlands National Park for years and decided to bring along Dr. Katherine Mickle. 10 years later, both Art and Geography students, Dr. Burkhart, and Dr. Mickle go as one group to coordinately go over the landscape. All the artwork was very fascinating to look at and each was unique and taken from or inspired by the Badlands. A lot of the artwork

What I see when I look at this large piece of work is the different painted scenes telling the accounts of Missouri’s history and along with a few images depicting popular folklore of the state above each door leading into the lounge. Benton brilliantly divided the mural into three different intervals along each wall, each representing a distinct time period between the years of 1730 to 1930s. Each

Imagery is the primary concept of this work. The two roads are each described in such a way that the reader can easy

Claude-Joseph Vernet is a very largely known French artist from the early 1700’s. He has been known to be one of the best landscape painters of all time. Vernet paints from a different perspective than many artists and his art leaves a lasting impact on viewers’ minds. Many of his paintings are famous including “A Harbor in Moonlight” which is located at the St. Louis Art Museum.

Pieter Brueghel was a Netherland painter whose paintings focused on humans and nature. Many of his paintings were scenes of humans, generally peasants, living life, with back dropped by beautifully detailed landscapes. Pieter was not just an extremely talented artist; his perception of humans and their environment was an amazing contribution to all art, but especially landscape painting. His painting The Harvesters is an example of his supreme skill, and shows how much his work impacted landscapes. Four contributions that can be seen in this painting are:

Claude Lorrain was able to portray the world around him in a unique way and for him “This landscape was the constant inspiration of his art, and he revealed the beauty and grandeur of its changing light, its glittering seas, its distant plains and majestic trees as through seen for the first time.” , giving the viewer the opportunity to look at the world around them in a new and exciting way. Proust’s belief that art is powerful because it gives one the opportunity to regain their appreciation for life is depicted by Lorrain in his Pastoral Landscape with the Ponte-Molle (Figure A). This landscape is based off of the Timber Valley, with the Ponte Molle accurately pictured in the background, even though it is not a topographically accurate work because Lorrain’s top priority was to capture the natural beauty of the scenery. The sun is shown low on the horizon to emphasize the soft lighting, accentuating the ambience of the tranquil setting. Lorrain’s placement of the sun allows for a soft light to illuminate the entire piece and the overlapping of colours in the skyline creates a sfumato effect that adds to mystical feel of the overall