Kispiax Village Analysis

Tillers copies the form and line of the original piece, following an organic, natural shape and line. The shapes are irregular, yet the canvas-board system distorts the overall image to give a muted geometric feel. They boards give strong angles and create a sense that a grid has been laid over the environment. The organic shapes create forms that are three dimensional, giving depth to the mountain landscape.

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

Classical landscape by Charles Sheeler is an exterior oil on canvas of the Estate of Mrs. Edsel B. Ford, Grosse Pointe Farms (figure 1) filled with deep, hidden irony. It was painted in 1931, and is based on a watercolor study. It’s a calm, clean, and serene painting that takes your breath away. It’s depicting a place someone would want to be in, a place where things get done, and a place where one can go to achieve this idea of the American dream. Charles Sheeler used American industry as a major theme of his art, his work “lends itself to an analysis in terms of geometric forms” he examines his subject matter so closely in order to fully understand the composition, the effect, and the design he wants to depict. Sheeler painted the plant’s exterior as an idyll, a beautiful, picturesque scene of the industrial age booming; however, in reality the United States was in the middle of the worst years of the Great Depression. Therefore, this painting done in Sheeler’s hyper-realistic artistic style is not actually depicting what the factory actually looked like.

The scene is first set up through the personification of the sun. The poet uses interesting diction and phrases, such as “dipping” and “geometries” to describe nature. The sun is described with human characteristics, “build[ing]” these “geometries and orchids” and “riding/The last tumultuous avalanche”. It is like an almighty being that is capable of anything, including the controlling of nature. The poet wants to portray nature as a hidden yet powerful force that should not be seen as a simple concept. Contrasts,

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.

Born in Victoria, British Columbia in 1871, Emily Carr had a passion and natural talent for art from a very young age. At the age of 8 she took a piece of charcoal from the fire place, ripped open a paper sack and decided she would draw the family dog, the piece impressed her father, it was later found in his belongings signed by Emily age 8. Her father would become a big influence into her artistic explorations. The youngest of 5 sisters, Carr was a favorite of her family, especially her father. She would walk with him to and from work each day and assist him in gardening at the family home. During this time she would take in the landscapes, colours, lines and shapes that composed her surroundings.

Only the mango tree that soared and sprawled over the native scrub seemed out of place in the otherwise familiar scene. A bush clearing, a tent, a campfire, and an old bushie — an artist might title a painting The Romance of the Aussie Bush. In fact, an observer would soon sketch a likeness, though not with artistic intent and the drawing later lost amid the chaos of a murder investigation.

“Fiercely the Red Sun Descending Burned His Way Among the Heavens,” was painted by Thomas Moran in 1875-1876. The artist’s use of contrast between very cool colors to very warm colors attracts attention to the sun and it’s brightness in the painting. The painting is vivid, yet impressionistic. The brushstrokes from the water to the rocky mountains are quite thin and small, but those of the sun are deep, rich, and intense. The brightness and intensity create a blinding and volcanic sun that appears to be setting the clouds above it on fire. Moran uses darker, inky colors in the water to mute the background for a moment and allow the viewer to experience the sun in its totality. As the viewer moves away from the sun and back to the water, he may notice the waves are fervently crashing against the mountain and against each other. The painting overall evokes an image of war and vengeance. Thomas Moran was influenced by many artists and ideas, but the most important works that influenced him were the epic poem by Henry Wadsworth Longfellow and a singular painting by J. M. W. Turner.

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

At first glance, the similarities between Vincent van Gogh and Georgia O’Keeffe appear minimal at best. A young van Gogh died penniless and largely unknown in a remote backwater in the south of France, while O’Keeffe lived out a long and illustrious life as one of the most famous artists of the early twentieth century. Where O’Keeffe was the object of admiration and fascination, van Gogh was the object of pity and derision. Where O’Keeffe was heralded in her lifetime for capturing the spirit of the desert landscapes of her beloved New Mexico, van Gogh was a was a man without a country, driven by destitution and illness to wander Europe in search of peace and some measure of stability. Despite their differences, however, O’Keeffe and van Gogh share vital similarities. Both van Gogh and O’Keeffe used art to advocate for the inclusion of the disenfranchised and the forgotten (namely, the poor and the ill in van Gogh’s oeuvre and women in O’Keeffe’s); both revolutionized how the natural world is seen; both are characterized by aesthetic styles which are highly sensory and sensual, representing psychological and physical states in such groundbreaking ways that they change the modern world’s understanding of what it means to be human.

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.

Have you ever looked at a piece of art and wondered how it could be based on real life, because it was just so beautiful? Well Elisabeth Vigee Le Brun was able to paint in such new and exciting ways; people were left wondering just this. Elisabeth Vigee Le Brun was a woman of many talents. In her life time she came up with new ways of painting, revolutionized fashion in France, and overcame any prejudice thinking because she was a woman. Before dying at the age of eighty-seven, she had gained the respect of women and men all across the world. Being a female artist in the eighteenth century was not easy, especially when you had to keep a career and your life together during the

Within his paintings, Church creates highly romanticized pastorals by utilizing emphasized natural lighting and vivid color. In his paintings, he depicted scenes of idyllic, flawless image of natural purity, which often include an ever extending view into the horizon. What Church paints is not real, but an idealized version of what nature has created. The style of the Hudson Valley School exemplifies American exceptionalism within a visual form. Hudson River School artists, like Church, intentionally depict a partially realistic, somewhat dreamlike perfection that exhibits the American landscape. The quintessential expansive horizon also represents the limitless possibilities for the future of America. The “artificialness”, seen in Church’s paintings, of crafting a scene more perfect than nature had created it parallels Church’s manipulation of Olana’s landscape. Church harnesses his control over nature in real life in his attempt to create an idealized “three dimensional painting” of nature in Olana the same way he does in his two dimensional

Browne has created a dominant unbalance of the codes, line and colour to produce an image that tells its own story, adding flow and continuity to this multiplex narrative (Serafini, 2005). At its core, this image has been produced to covey an aspect of Charles’ feelings and psyche, while allowing Browne to reveal ideas surrounding the global issues of gender bias; prejudice and the impact socioecomic status can have on our lives. The salient feature of the pole represents a divide between Charles and Smudge both in their socio-economic status but in their views about the world. It is evident within this image and prior and latter pages within voices in the park that Browne has drawn inspiration from various artistic styles. The colours within

One of Vincent Van Gogh’s most world renowned paintings is his landscape oil painting Starry Night. The painting displays a small town underneath an unusual yet still extremely beautiful night sky. In this night sky, Van Gogh utilizes an array of colors that blend well together in order to enhance the sky as a whole. The town is clearly a small one due to the amount of buildings that are present in the painting itself. In this small town most of the buildings have lights on which symbolize life in a community. Another visual in Starry Night is the mountain like figures that appear in the background of the illustrious painting. Several things contribute to the beauty of Van Gogh’s painting which are the painting’s function, context, style, and design. Van Gogh’s utilization of these elements help bring further emphasis to his work in Starry Night.