Search Of Lost Time By Marcel Proust

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

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.

Written response to a prompt- a statement about the theme which you are required to “break open” in your response.

“The landscape, the whole great circle of it, grassheads, scrub, water, sky, quite took his breath away.” (Pg 17)

One of the reasons the characters have unfulfilled desires is, because they are thinking about the future and what they are missing out on. Chantel goes back to see the gold after the first time the stranger made her dig it up and the narrator says, “she was holding her dream in her hands,the thing she had always longed for, and which a miracle had set before her”and this is evidence of how Chantel wanted more but living in a such small town it was always out of reach until she realized the gold could be her way out (30). This would also ensure financial stability while she went out and tried new things instead of being stuck working at the hotel. In another spot the stranger is talking to Chantel about what other people would say if she told

Reflecting back on one of his awe-inspiring moments, on the shores of Lake Bienne, where he saw the shores as more “wilder and more romantic than those of Lake Geneva because the rocks and woods are closer to the water’s edge; but they are no less pleasing on the eye” (p.49) Rousseau saw the aesthetic view as sublime rather than beauty, but still feel in love with the amazing picture of the rocky shores.

Study showcases that Post-Impressionism inspired Matisse. Like Cézanne, Matisse described the landscape with the same functions. And like Cézanne, Matisse joined the figures and the landscape. Matisse also cited Ingres's odalisques and harem fantasies, and Titian's Bacchanal of the Andrians. Matisse repeatedly used and played at mythic paradise. It is an indication of the inspiration by Post-Impressionism. However, Matisse broke the ancient rule, interest in myth. He thought it could be possible to express his emotion with colors, particularly expressive, bright, clear colors, and wildly sensual forms. Matisse's painting understood Cézanne's challenge and did farther. In a different manner from the paintings by Cézanne's The Large Bathers, he didn't delineate forms that decrease in the background and diminish in scale. There are incorporating shifting perspectives. Their scale is stringent distort especially from a symmetrical form and grand. Some are marked by extraordinarily great size proportion. This is a face to face

Exotic landscapes are food for the imagination. The distinction between real and imagined landscapes exposes more about the traveller than the place they have travelled to. Flaubert’s imagination leads him to long for the mysterious of the Orient, wondering if he would ever see the camels resting ‘by their wells’ and hyenas howling ‘from beneath the mummies of Kings’.(p.75) Flaubert exasperated exclaims that ‘it is such a bewildering chaos of colours that our poor imagination is dazzled’ (p.84) Flaubert compares the streets of Egypt through the metaphor of a Beethoven Symphony, with ear splitting brass instruments and rumbling basses that reach out to you though it seems that the more you try to grasp, the less you grasp the whole. De Botton

He describes the land with creativity and beauty that one hopes to find. From the “exuberant grass [that] replenishes all my fields, the best representation of our wealth” (Crevecoeur 57) to “the richest palette of the most luxuriant painter could never invent anything to be compared to the variegated tints… [which the] insect bird is arrayed (Crevecoeur 57), Crevecoeur’s romantic view of the land is what evokes emotion from the readers. He shows the readers that he finds everything beautiful, fights and all. He states that “I am astonished at the myriads of insects which I perceive dancing in the beams of the setting sun” (Crevecoeur 52).

It is the first modern landscape in Western art. Though the humans seem to be the main focus, the landscape is just as important.

In Marcel Proust's "Swanns Way," we see him, the narrator, remembering and recollecting on both the good and the bad memories of his own past experiences. In the Combray section, Proust has little sense of who he as a person. His view on the past is complex. Yet it is the past itself and the experiences one endures in one's past that shapes a person (2-4).

There were five prominent themes from this collection. These include Monet’s Giverny landscapes, Urbanism, country landscapes, domestic gardens and rooms, graphic prints. There was an overall domestic theme of all of these paintings. They related to some real- life landscapes I have experienced myself. There was a painting in the collection that

In the painting the artist labored to express his personal feelings as he stood on the outskirts of a small village in France looking up at the night sky. Seem through the prism of this idea, the landscape inspired in him a vision of great intensity. Surrounded by halos

By leading the expedition of expanding the landscape genres in art, the Dutch presence would be manifested because of Avercamp’s work A Wooded River Landscape with a Church and Figures.

Baudelaire’s most famous body of work is collection of 140 poems, called Les Fleurs du mal. Collection is divided into 6 thematically segregated sections. Through the book, poet is confessing his dreams, hopes, failures and sins. Unlike traditional poetry, he doesn’t rely on serene beauty of the natural world to convey emotions, he rather thinks that modern poetry must evoke artificial aspects of life, but that is because he believes beauty can evolve on it’s own, irrespective to nature and even fueled by sin. The result is a clear line between two worlds, the world of the ideal and the world of the real, where you can get to the world of ideal through drugs and alcohol.