Literary Analysis Of Classical Landscape By Charles Sheeler

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

A Comparison of Death of a Naturalist and Digging by Seamus Heaney The poems 'Death of a Naturalist' and 'Digging' have many similarities, and contrasts. Some of the reoccurring themes in the two poems include memories of childhood and changes in the life of the writer. There are contrasts too, in 'Death of a Naturalist'; the writer is concentrating on himself and his own experiences in life, rather than the experiences of others. In 'Digging', the opposite is true, as the writer concentrates mainly on the events in other people's lives, namely his father and grandfather.

The third chapter, “Landscape of Profits,” looks at the effects of new industry in the borderlands in the late 1800s with the arrival of the railroad and more capitalist ideals. In this era, real changes took place as more people began to

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

In addition, unusual comparisons like the grain elevators rising like Greek temples stimulate the mind to take notice of the description. Immediately, a picture portrays a time back in history when a simpler time is present where innocence prevails over a community of people working on their farms like the Greeks building their

This piece depicts the “men at work on the farm reflects New Deal era values of productive labor.”12 In this piece there are four men hard at work to build houses to live in and collect livestock for food. These men are seen cutting wood and placing said wood on houses for the roofs, as well as carrying live stock into one of the buildings for food preparation. In the background you can see the dark blue sky and green landscape and the many trees that go on for miles. Showing the great resources of the land they had settled

Frederic Edwin Church is one of the most significant painters of the Hudson River School whose greatest works inspire awe about natural wonders. One of his famous works “Rainy Season in the Tropics” (1886), oil on canvas, is currently part of the Mildred Anna Williams Collection at The Fine Arts Museums of San Francisco, USA. This work presents the enormous power of the nature but at the same time it calls the viewer to step into and explore the true value of the nature.

I stopped at a painting titled “House and Farm on the Allegheny River” by William C. Wall from 1863. The two boys on the wooden rowboat where the first objects to strike my eye, and slowly my eyes moved towards the livestock wading in the river, and next to the mountains in the background. Above the rolling hills, there is a gorgeous sky that included colorful clouds with the sun’s rays shining through intermittently.

[1] These lands contained a great supply of natural resources which the settles took advantage of and re-possessed from the Natives. Another great exemplary piece, Yosemite Valley by artist Albert Bierstadt. [1] “Far to the westward, widening more and more, it opens into the bosom of great mountain-ranges, into a field of perfect light, misty by its own excess, into an unspeakable suffusion of glory created from the phoenix-pile of the dying sun” ~Fitz Hugh Ludlow, 1864. This painting holds a scene that had belonged to Mexico twenty years prior, but was taken for possession by the United States and was magnified into detail by the words of Fitz Hugh Ludlow then reflected into a visual representation by Bierstadt. A third example but not the last one in history, View of a Native Forest Being Reduced to Coal, by Félix Emile Taunay, a piece done in Brazil of Rio de Janeiro’s Tijuca Forest before and after being drained of its natural resources. Taunay intertwined multiple stages of the timbering process into one composition, revealing the industry as a major source of produce for Brazil but clearly a very ecologically damaging

America during the early 19th century was a place that underwent massive change. After the Civil War, many modifications were done to land, as citizens begin to work towards change. These alterations in American culture became known through landscape paintings and photography. In the article “The Kiss of Enterprise,” Nacy Anderson mentions how different artists, document these changes in western landscape and how they share their own perspectives about it. She argues that although their work was appealing to the eye, many times the work is modified to the artists own emotions about industrial growth in America. Popular locations like the Grand Canyon, Sierra Falls and Green River became tourist destinations where the new and improved America

Located in Howard University Art Museum lies one of the more exclusive oil on canvas paintings done by Mr. Edward Mitchell Bannister. In Mr. Bannister’s landscape portrait he demonstrates the principle of unity and harmony, through the depiction of a natural environment untouched by civilization. Mr. Bannister also showcases fantastic elements of value, shape and color. In order to display to the audience time and location. Due to the absence of information on the world wide web it can be assumed that this is one of the many untitled pieces done by Mr. Bannister, explaining why many collectors and recipients of his artwork refer to Mr. Bannister artwork by what is depicted in his paintings. Thanks to the sophistication and beauty of Mr. Bannister’s

West of the Imagination is a collection of fascinating tales of western artists from Charles Willson Peale to Georgia O’Keeffe. Furthermore, it covers various art forms from painting to photography to sculpture to illustration and to theatrical production. This book also explores comparisons between such artists as the man who “made a momentous decision to become the latter-day George Catlin and record the “vanishing American” or “fallen foe” for posterity. This man was Edward Sheriff Curtis, a Seattle society photographer.” The authors are amply knowledgeable on the subject of life and art in the west as well as how the West is a enduring concept. The content is clear enough for the general public, but more appreciated by experts who have a background in western art and history. Specific names, locations, and events referenced, imply the reader should be knowledgeable of the context and historical significance of American history. Likewise, Robert Thacker, a book reviewer from St. Lawrence University, boldly stated that “This is in every meaning of the word a wonderful book.” Thacker expresses later that “The authoritative tone belies a wealth of information, for the authors make their analysis seem easy

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.

Many times in society, life is sometimes influenced by art and during other times art is imitated by life. Art being able to imitate life means that the brush strokes of a painter or the innovative ideas of an architect are influenced by the world around him or her. During the years of 1900-1917 the United States was going through a number of changes. These changes helped to indentify the period as the Reformation Era. During the Reformation era the United States was becoming reshaped politically, economically, socially, and culturally. Painters such as George Benjamin Luks used pastel colors to paint pictures of a newly reformed society. In his painting Hester Street revealed a New York City that was accepting to Jewish culture and lifestyles (Figure 1) . Other pictures painted during the Progressive Era depicted more areas of city life, sports, different ethnic groups and culture. The life that was present in many of these painting showed a country that valued women, minorities, and individuality.

The photographs taken by Terry Evans in the collection “Heartland” show a range of perspectives of the Midwest prairie. “Heartland” displays characteristics of the traditional Gothic through the combination of wide landscapes and dilapidated factories. Photos from three collections portray the transition of the untouched landscape to an overgrown and gothic scene.