The Nature Of Art And Literature

In the essay, “A Literature of Place”, Barry Lopez expresses the importance of nature as it applies to human life. Through this he states that humans’ imagination are inspired by the scenery around them. Lopez revolves around a central perspective; Ancient american literature has always been rooted in nature. By acknowledging that modern human identity has been interpreted by nature, Lopez describes how the landscape of an area can shape the structure of the communities and how it can help with spiritual collapse. Nature writing has often been summarised by being one of the oldest threads in american literature. With our nation's aging one needs to reflect on their literary past; therefore, Lopez insists that we find our path to nature that

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.

The group of seven is arguably one of the greatest movements in Canadian history; with their dynamic landscape paintings. Through this short summary I will highlight their history, their style of painting and the important role they play in our Canadian history.

For Carr, the Canadian art scene seemed to be disjointed; she felt that Canadian art was not capturing the mood of the Canadian landscape. In searching for new inspiration Carr was accepted to the San Francisco Art School and studied for five years in 1899-1895 learning “portraiture, design, landscape, and drawing from plaster casts.” Although these techniques aided Carr in her paintings, she still felt something lacked. Carr then set her sights on Europe for their “New Art.” In 1899 Carr traveled to London and studied at the Westminster School of Art where she learned to pain in the Romantic European landscape style. Here, Carr learned techniques more suited to her style of landscape but she still felt that it was not enough to capture the essence of the Canadian wilderness. Undeterred, Carr looked again for new techniques. Learning that London was not to her taste Carr turned her attention to Paris, the home of many modern art movements. In 1910 Carr began to study in Paris. Paris was the most transformative learning experience for Carr. In Paris, Carr came in contact with new modernist painters like those of the fauvists. Fauvism was a French style of painting that took an analytical approach to subjects and the expressive qualities of saturated and non-naturalistic colours. Finally, Carr felt like she had found a style that could express the grandeur of Canada. Returning to Canada in 1911 Carr used the expressive qualities of the fauves within her landscapes. Unfortunately, the Canadian art scene did not positively receive this new fauvist inspired art. Plagued with economic problems, and a feeling of alienation, Emily Carr abstained from painting for fifteen years, until she came in contact with the Canadian Group of Seven. The Group of Seven, a Canadian group of seven landscape painters were, like Carr,

Art has had a profound significance to me throughout my life. As a child, art was my retreat from the mundane of the world. I found a way of communicating the things I was feeling with others around me! It gave me different perspectives and ways of looking at events, emotions, and people. All of these perspectives helped shape me, made me contemplate the individual I wanted to be and how the world behaves. Art answered as many questions as it posed. It made life worth living. From that moment on, there would never be a day in my life that didn’t involve art in some form or another.

Landscape painting was a particularly effective vehicle for allegory because it allowed artists to make fictional subjects appear normal, conditioned, acceptable, or destined. Art was not just about the landscape, it actually allowed the spirit of the painter to come alive in their work. The allegory was for moral and spiritual concerns. The introduction to photography therefore impacted 19th century landscape in a manner that was found to be unacceptable because personal intertwinement of expression and emotion could not come from photography.

For many people, literature is just some story created in the minds of authors to provide enjoyment for readers. Others think literature is just ineffectual words on a page that won’t help them deal with life in any way. However, they are wrong. While literature is indeed stories created by authors, it has the power to galvanize many people; it can help people gain self-esteem, overcome hardships, and inspire them to become better. Literature is different from all other texts, and reading a variety of them gives people a refuge, education, and inspiration.

Winifred Bullard shares her perspective of features of the landscape when she expresses, “The falling of snowflakes coming down. Making a blanket of white on the ground,” in the poem “The Beauty of Nature” just as Bullard’s poem focuses her subject on the beauty nature holds, so do many other poets. “The Road Not Taken’ by Robert Frost and “Seasons Changing” by Emily Mottley, Mckenna Faychak, and Annijah Collins use imagery to capture the essence of nature, yet each poem is formatted differently, and the poets shared a message of nature in a different way.

Do you ever wonder why the literate arts are called art? Expression is the first thing that comes to mind for me. People use the literate arts to be expressive. It is used as a way of communication. Some types of literature can be used to express feelings. Or it can be used to escape from reality. Art is an expression. What do the authors freire, Pratt, Rodriguez, and Miller have to say about the literate arts?

Today day, art still is a controversial subject of aesthetics, in discussing whether variety form of modern visual art is art or not. In Laurie Schneider Adams’ article “What is Art?” and Marcel Duchamp’s “The Creative Act”, they have own criteria to definite what the nature of art, its meaning and its function. In evaluation Doris Salcedo’s art work Atrabilious, a set of worn shoes encased in rectangle niches on the wall. I agree with their explanation of art thought the combined in structure and form to express the truth and beauty of Salcedo’s work, the nonfigurative subject catches the symbolic harrowing moment of the effect of war and violence happened, also a metaphor of her culture idea and individual meaning, experience her political view to deal with female issue of the subject matter.

After reading all of the poems to myself and in different ways when I’m reading “We Real Cool” I feel like a thug siting on the street corner talking to the other kids around the area. Making it feel like those kids are expected to follow in the story tellers footsteps. This poem reads with more of an arrogant tone and seems to try and make themselves feel more important or cool in the tone they read the poem. I also think this poem could be read to people who are possibly even in jail, or in a support group for something, like a way to express that making trouble, skipping school, causing problems and drinking isn’t worth it in the long run.

American literature has depended upon nature since its very beginning. In this paper, the writer will give detailed explanations on how “Nature” by Ralph Waldo Emerson, “Walden” by Henry David Thoreau, and Fitful Flame” by Walt Whitman, all take roles as a part of American literature. Nature is very difficult to understand yet it’s very sophisticated. It contains different sorts of animals, plants, and interesting things like night and day and how much it changes when day turns to night. Rain and sunlight play an important role as well.

The term “significance” to literature is defined as your own personal connection or feelings you experience as you read the short story, poem, or play. These personal reactions to the literary texts is comprised of your own personal experiences to the topic discussed. How are you able to relate to what the author is conveying in the story and what interpretations could you conclude from the story? They state that readers find significance in a short story by reading the author’s headnotes and commentaries which will help the reader to better understand the significance of the “writer’s lives, historical times, and cultural traditions” in order to comprehend their work. Also, it is important to read twice in order to better understand the

When the landscape is presented by composers in an evocative manner, an individual is able to view the land in a different perspective in relation to how it represents people and landscape. In Judith Wright’s Flame-tree in a Quarry, the poem comments on the destruction of the landscape due to the need for industrial progress and resources, making the audience to question the relationship of the people and the land, developing the concept of life and death. Whereas in Wright’s poem Train Journey, it reflects the feelings of being disconnected from nature, revealing the audiences perspective of the landscape as being the roots that they must accept in order to define themselves, in which is seen through a liberating and transformative experience

In continuation and because of the introduction and implementation of the white cube on the artist book, one of the main short-comings of this exhibition is in its dealing with the book as an object. Put simply, A Century of Artists Books treats the objects within its exhibition as merely traditional two-dimensional artworks, like drawings or paintings, rather than the tactile objects that they are. Rena M. Hoisington, a curator at the Boston Musuem of Art, was also by this issue and states, "the reader’s activation and experience of an artist’s book through intimacy, tactility, duration, and sequence are lost when the book is open to one representative spread and placed in a case" (Hoisington). Ultimately, Books are inherently