Nature Landscape Analysis

As a formal analysis, this artwork has a figure in the center of the page, which can be assumed to be the focal point due to its positioning in the center of the picture plane. Also, this artwork is monochromatic, and the only color used is the hue green. Towards the top left-hand corner, there are darker shades of green, which make this part seem to be in front of the rest of the picture by using overlapping to convey depth. Also, towards the right side of the picture, the people seem lighter and appear farther away than the dark shaded buildings Additionally, since the figure in the center of the work is larger and more detailed than the other figures, it appears that the center figure is closer to the viewer.

some trees. In the background, there is a sky and some tall mountains. The textures

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

The viewer is at the edge of the cropping of rocks at the foreground, just a few metres away from the falls. The vantage point that the viewer

been carefully constructed, suggesting that the farmers, who built these, obviously took a lot of time and care in getting the stacks up. The grainstacks also show that the fields were fertile for growing and that the land was producing for the farmers (Hayes Tucker, Monet in the 90?s, pg. 83-84). The viewer can tell that the farmhouses were also an essential part of the painting. The homes were placed in the same horizontal as

Charleton Watkins photographed the first photograph in July of 1867 in Oregon; it is titled “Cape Horn, Columbia River”. Timothy O’ Sullivan photographed the second photograph in 1873; it is titled “Ancient Ruins in the Canon de Chelle”. Both photographs are spectacular, without a doubt. They were both photographed around the Realism movement. This explains why they are both landscape photographs that consist of everyday subjects. The method used to create “Cape Horn, Columbia River” is an albumen silver print. Coincidentally, the method used to create O’ Sullivan’s photo “Ancient Ruins in the Canon de Chelle”, is also a photographic albumen print. The albumen print method, also called albumen silver print

Time has a really wonderful way of showing us what really matters. When I look at this picture, I see land that originally used to belong to first nations people. You can tell they worked hard in making that place there homes from teepees they way they do, had set up a place for the horses too. You can see how how green it is just because there's lots of grass and trees. The 20th century there is a huge golf course in that area that was built probably because the government had taken first nation peoples land from them. The people that now own the land have almost completely changed it, it doesn't look as natural as it once was back in the 19th century. I believe that is what the photographer is visually trying to tell us through this long shot is

The illustration #9.1 Throwing the Cast Net by P.H. Emerson is an image that describes a man on a small boat releasing a net in the middle of a lake surrounded by trees and leaves produced on a platinum print. The illustration #8.6 Descending Vesuvius by R.K. Albright shows an image of two men walking down a hill, shot with a handheld camera, snapshot. Pictorialism motivation was to capture the intense nature attributes of a particular scene that the viewer is observing by adjusting the cameras to be slightly out of focus to reveal the sharp qualities of the subject, but not to sharp while the everything remains controlled. This was considered an art form that was the aim for Albright’s picture using the focus method to reveal a sense of mysterious

Meindert Hobbema painted this painting based on the art movement at the time: baroque and landscape painting. Meindert wasn’t a popular artist at his time, but has become popular over the years as he took a slightly different approach to both movements. Most Dutch painters focused on making the environment vast with life and grandeur, but Hobbema liked to paint small rural areas and capture nature in its most natural setting. This different approach made his paintings stand out even more, especially since Dutch painting in the 17th century focused mainly on grandeur of the Dutch culture. Today the painting can be located at the Philadelphia Art Museum.

Vincent van Gogh’s, Wheat Field with Cypresses, and Anselm Kiefer’s, Bohemia Lies by the Sea, are astonishing pieces of art located in the Metropolitan Museum of Art. Both artists put a large amount of thought and time in the creation of their work with the intentions of conveying specific understandings to the viewers. Although they may appear extremely different at first glance, they are in fact very similar, whether it is in process, intention, or in context. Both of these pieces are very significant to the history and development of art throughout time and have inspired several artists across the world.

This was made back in the 1870, at the midst of the pictorial movement. It was made using albumen silver print, and is 25.7 x 38.1 cm, so not very large. Here you can see elements of a pictorialism, from the blurriness to the slight warm red hue. Some parts of the picture is not as distinct as others, and this all comes together to convey a somewhat bleak and lonely feeling. The contrast in the colors serves to bring your attention to the black portion in the middle, where a bird is flying.

In, Wheat Stacks in Provence, Van Gogh's haystacks are clearly the centerpiece of his work. The effortless line direction and blue toned sky's, yields the effect of blowing wind on a cool day. Opposite of the bold orange hues emanating from, Ferme a Arles ( Landscapes near Arles), by Gauguin. Although he does create a similar effect in the background with

-What do the photographs say about the area and the era in which these photographs were created?

Peirce, the author, suggests the rules for studying the landscape. He refers the landscape as not “pretty nature” but “anything outside”, saying that all objects are containing the cultural meaning, no matter how they look mundane. Why he wrote this paper was based on his tutoring the students who did not understand how to look at the landscape properly, they might looked for the significant features that seems huge meant than others. Besides, most Americans also cannot think that landscape is readable. So, following axioms would help the readers to understand out living place much more.

The images cataloged here are all by the artist Egon Schiele. Since they are all done by the same artist the images presented have a lot in common in terms of physical appearance. Line, color, volume, cropping of the figure and the figure being shown alone; they are environment less. This is also a technique that was used in medical journals that showed the diseased stages of patients during the 1900’s “The patients are photographed against a neutral background, such as a wall or curtain of dark fabric, in order to focus attention on the body” in these journals the focus of the viewer was the figure in order for the viewer to only see what the photographer wanted them to look at the photographer only showed what he wanted viewed. Much like