Pink Stonework And Waterfalls Analysis

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

She [the grandmother] pointed out interesting details of the scenery: Stone Mountain, the blue granite that in some places came up to both sides of the highway; the brilliant red clay banks slightly streaked with purple; and the various crops that made row of green lace-work on the ground. The trees were full of silver white sunlight and the meanest of them sparkled. (1286)

Seeing aquatic blue lake house and the large, screened in, cedar wood deck reminds me of the time my mother, stepfather, and I would invite our local friends over. We would watch the South Carolina Gamecocks play football and grill out on the large, black, charcoal grill that sat in front of the deck itself. The house was perfect; neither too big nor too small. Though it was built with wood painted with the distinct blue, it stood on a brick foundation.

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.

In the middle of the semi-circle driveway, separating it from the sidewalk, there is a row of forest green shrubbery. This shrubbery is enclosed with a cement fence, measuring about three feet in height and about six inches in width. Between the driveway and the entrance was a walkway that was covered by a small cement roof, held up by four posts. Built-in as part of this roof is a semicircle dome, made of the same glass as the windows on the rest of the building. On the right side of this roof-like structure, there were a few bushes and shrubs placed behind a bed of rocks. Next to these bushes and shrubs there were a couple of garbage cans and a lamp post. On the left side of this roof-like structure, there were two tall flag posts which each held Canadian flags. These two posts were placed in front of a small row of five stairs which led up to the wall of the building, and in front of the rock-like accents built into the wall. About ten feet to the left of these flags, there is an art-piece. It is made up of twelve thin, metallic planks about ten feet in height, which are placed behind four smaller versions of these artistic planks. These metallic planks were a greyish-green in colour, and each had a small brown-gold, rock-like figure built into them. These rock-like figures were placed about three-quarters of the way up the plank, and they stick out slightly

When Stephen visits Sachi’s garden for the first time, he finds that “There were no trees, flowers, or water, only a landscape made of sand, stones, rocks, and some pale green moss . . . Sachi had created mountains from arranged rocks, surrounded by gravel and elongated stones flowing down like a rocky stream leading to a lake or the sea” (40). Unlike Matsu’s very green and tree-filled garden, Sachi’s garden is very dry, and simplistic, yet has a peculiarly admirable feeling when one is able to see the subtle details. Although it is very different from a typical garden, its components harmonize to create a new and beautiful pattern. At first, Stephen is overwhelmed by the unfamiliar concept of a dry landscape, but after taking it in, he says it is beautiful. This garden is has a fresh taste to it, leaving Stephen to decide the effect it has on him, whether it be positive or negative. When creating the garden, Sachi insisted that it should not have flowers. However, eventually, “between two large rocks grew a neat cluster of blooming flowers, startlingly beautiful, a splash of blue-purple . . . thriving among the muted, gray stones.” The way that the bright colors contrast against the dull gray shows that something unfamiliar and novel can appear beautiful in its own way. Since Sachi’s garden is filled with pebbles and stones, the dainty flowers stand out comely, and to

In the summer of 1961 our family leaves the familiar suburbs of Portland, Oregon for the unknown wilds of Eastern Oregon. Sandwiched between the east side of the Elkhorn Mountains and a seemingly endless sagebrush desert, this valley, our new home, is a stunning green oasis in the desert and a

From the inside out, our town Serenity is a community that appreciates and promotes the beauty of the small aspects in life. The simple details of human nature are magnificent and deserve to be recognized for their spectacular contribution to our everyday life. Through the form of art placed around our town and in our gallery, we highlight the simplicity of nature, and remind each individual of the power that comes from transcendental living. The commotion of life can be overwhelming, but the intention of our art gallery is to consistently encourage and remind individuals of the power within nature, simplicity and their individual uniqueness.

It’s the grassy greens, near the winding pebbly road I remember first. The long stalks of spinifex still line the edges, though now neatly trimmed all around. The uneven crunch-crunch-crunch of the gravel as I drive my sunny Porsche across town. Even in winter, bindies pepper the half soccer field, other foliage: a bush dotted with withered yellow berries and emerging saplings surround the patchy lawn like spectators. Smack bang in the middle, winter clawing its way in, stands a grandiose resilient oak, basking under the mild heat of the country sun, glorified as it houses two tombs. Its boughs stretch towards me invitingly and I smile…

The aim and intentions of this essay is to compare and contrast how the three artists (Michelle Lougee, Andy Goldsworthy, and Hermannsburg Potters) use their materials to communicate ideas about the natural environment.

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.

Lueth and Roden have transformed a block piece into a meticulous 46″ x 30″ artwork. Portraying lush forests and an abundant growth of exotic and colorful landscapes, the work has an abundance of vibrancy to rival a rainbow, under a landscape of a mountain range. The woodblock print, Overlook, is built on 5 plates including 4 color blocks each uniquely carved on

Between 1863 and 1868, when Jebidiah Smith was first provided access to the Book of Gates and his interpretations of the Dlothian text was being recorded, the Seer Stone of Dloth given to him by the Eemian prophet Izal had dual benefits. Not only could he pass the glowing blue stone over the pages of the book to change the characters into English, but on the opposite side of the Seer Stone, as the translator stated, he could see pictures of ancient Yidath as it was during the Archean. Seeing the lost continent as it was some 4.5 billion years ago impressed Jebidiah Smith greatly, and as such in 1869, for numerous newspapers and prehistoric exhibits, he created the Yidathian Dioramas with models and impressionist landscapes he had noted in the

When writing about the opulent folks of Paradise Valley, you will not be taken seriously if your characters do not reside on the sunset-tinged precipice of Camelback or Mummy Mountain. You must distinguish the town from its verdant Scottsdale neighbor by chronicling the abundance of Sonoran foliage. Use words in the company of "stale," "stark," and "scorched" to transport your audience into the wasteland of cactus and stone. Remind any readers from bijou New York or San Francisco apartments that every piece of private land is at least an acre, separated from others by broad roads and spacious expanses of tumbleweed ridden dust patches. Illustrate all members of the community as conservative seniors, holding on to antique wealth in the form of Bentleys and original artwork.

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.