Essay about Visions of America

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

Classical landscape by Charles Sheeler is an exterior oil on canvas of the Estate of Mrs. Edsel B. Ford, Grosse Pointe Farms (figure 1) filled with deep, hidden irony. It was painted in 1931, and is based on a watercolor study. It’s a calm, clean, and serene painting that takes your breath away. It’s depicting a place someone would want to be in, a place where things get done, and a place where one can go to achieve this idea of the American dream. Charles Sheeler used American industry as a major theme of his art, his work “lends itself to an analysis in terms of geometric forms” he examines his subject matter so closely in order to fully understand the composition, the effect, and the design he wants to depict. Sheeler painted the plant’s exterior as an idyll, a beautiful, picturesque scene of the industrial age booming; however, in reality the United States was in the middle of the worst years of the Great Depression. Therefore, this painting done in Sheeler’s hyper-realistic artistic style is not actually depicting what the factory actually looked like.

America is a wonderful place to live, because we are free. Freedom is important, and many people in other countries do not have much freedom. I am glad I have a place like this to grow up in; where I know that I can be equal with other races and other genders. Also, I am glad I have a place like this that will respect me and I know it will be a great place to have my children grow up in.

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.

A question most fascinating to me is where in history does the first hint of American ideals and identities originate from? If we were to look at where the fiery passions of an American identity first arise we have to look to where the colonists first fought for their right to be a recognized citizen of America. American colonists formed their identity through the ideas of liberty, resistance to unfair British jurisdiction, and cultural diversity. Their identities formed between the Seven Years War and the American Revolutionary War as these two events deeply brought out what the colonist’s ideals were and what they fought for so passionately. Between these years 1763 and 1775 we see the first American ideals being born in the colonies. An example of such ideals is the want and need for Liberty. A reason for wanting liberty was that British control suppressed the lives of the people living in America and over time grew harder for colonists to live with. Americans are revered to have a passionate patriotic view of their country and this is true as it is seen throughout history but in my research I will try to explain where these ideals first arose.

America. The greatest country. The strongest country. The one country most people want to live in. The country that provides help for the ones in need and free education for everybody. America has lived up to the ideals in the Declaration of Independence such as democracy, opportunity, but most importantly, liberty. In America, we are all born with liberty or as others call it, “rights.”

John Singer Sargent (1884-1916) was the portrait artist for rulers and the upper class in both Europe and the United States of America. He was considered the greatest painter of his era. In addition, he was born abroad and an expatriate in his life; he loyally supported all things English, but never renounced his American citizenship. Sargent’s works reveal the individuality and personality of his sitters. Sargent was one of the last great Realist artists of his time. Realism was a reaction against Romanticism and sprung out of the toppling of the old order during the French Revolution. Realism focused on the modern world instead of the historical, the truth instead of the varnished truth. Sargent refused to embrace the modern styles that became popular towards the last decades of his life,

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

Mary Catherine Bateson's Improvisation In a Persian Garden, Annie Dillard's Seeing and Leslie Marmon Silko's Landscape, History, and the Pueblo Imagination

During the late 1750’s visual art began to take its place in the colonial world with the birth of “Several outstanding artists” and their talent with portrait painting and

The first American group of painters, The Hudson School of Romantic Landscapes, was lead by Thomas Cole, who was born in 1801 in England. He went to Philadelphia and Ohio as a traveling portrait painter in 1819. In addition, he traveled to Europe where he painted many Italian subjects, and later many of the scenes in his paintings came from his European studies. He died in 1848 at the age of 47. Cole’s artwork represents the Romantic style of painting, especially in his famous work The Oxbow (Fulwider 618). In the life and time around Thomas Cole, three things stand out. The major themes in Cole’s artwork, what was romantic about the Hudson River School’s art, and why landscape was a national religious symbol for Americans.

Cole’s first major painting, “The Course of the Empire,” was a symbolistic illustration showing the five stages of an empire; which were the savage state, pastoral state, consummation of the empire, destruction, and finally desolation. The different canvases display the relationship between man and

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.

Current events and history influenced Thomas Hart Benton's art which was clear in the first few painting of the exhibition. The paintings are part of the mural series American Historical Epic (1920-1928). When these artworks were completed in the twenties America was in a racist mind set. The Ku Klux Klan were widespread throughout the country, the race riots in 1919 were fresh in American's memories, and Native American's were just being granted citizenship.Rather than portray the white protestant American history Benton included the history from the point of view of Native Americans and African Americans. Contradicting popular ideas at the time, Benton was showing the history of America includes all races . One work that stood out to me was

Here we are going to talk about our two paintings in more detail and The First Landscape Painting for discussion is Uragami Shunkin, Spring landscape, 1821, Ink on silk. This large painting has many Japanese traits but also carries over numerous Chinese