‘Expressing natural conditions with maximum possibility’: the American landscape art (1901–C. 1912) of Walter Burley Griffin

1995 ◽  
Vol 15 (1) ◽  
pp. 19-47
Author(s):  
Christopher Vernon
Prospects ◽  
1989 ◽  
Vol 14 ◽  
pp. 65-92 ◽  
Author(s):  
Angela Miller

Thomas Cole (1801–48), is best known for his role in placing the landscape genre in America on a secure artistic and intellectual foundation. Associating the beginnings of landscape art with the concurrent appearance of popular democracy, scholars have generally assumed that Cole shared the cultural and nationalistic premises of the native landscape school that developed under this influence. Other inaccurate assessments have followed, in particular the belief that Cole's political sympathies were democratic. To take this for granted, however, is to overlook not only the anti-Jacksonian sentiment that Cole occasionally vented in his journals and letters, but also the veiled political and topical content of his wellknown cycle, The Course of Empire. This neglect of the political content of Cole's art is part of a broader tendency to approach American landscape art as a genre lacking social or political content, as a transparent reflection of nature's central role in national culture. The reappraisal of such assumptions begins with Cole, whose ideological challenge to the next generation of painters was made in the language of landscape. This challenge will be considered briefly in my conclusion.


2019 ◽  
Vol 147 (1) ◽  
pp. 124-160 ◽  
Author(s):  
Corey Byrnes

This essay explores how landscape forms are used by writers, photographers, filmmakers, and other artists from inside and outside of China to represent environmental problems in that country. It considers the “landscape of desolation” as an ecocritical mode designed to change how people see and act in the world in relation to both the shifting status of “Chinese tradition” and to earlier moments in Euro-American landscape art, particularly the so-called New Topographics Movement of the 1970s.


Author(s):  
Hilary Radner ◽  
Alistair Fox

Raymond Bellour describes how his interest in video art grew out of his personal friendship with Thierry Kuntzel and the latter’s growing interest in experimental filmmaking using the new technology, and how this interest prompted him to seek to understand how the new medium was leading to a modification of perception. He goes on to explain how video technology enables the production of images that escape the natural conditions deemed to constrain photography, also emphasizing the influence of painting on video art.


1994 ◽  
Vol 4 (2) ◽  
pp. 165-191 ◽  
Author(s):  
Roger Robins

In 1822, from his Conway home in the shadow of New Hampshire's White Mountains, one Dr. Porter surveyed the nation's religious landscape and prophesied, “in half a century there will be no Pagans, Jews, Mohammedans, Unitarians or Methodists.” The prophecy proved false on all counts, but it was most glaringly false in the case of the Methodists. In less than a decade, Porter's home state became the eighth to elect a Methodist governor. Should Porter have fled south into Massachusetts to escape the rising Methodist tide, he would only have been buying time. True, the citizens of Provincetown, Massachusetts, had, in 1795, razed a Methodist meetinghouse and tarred and feathered a Methodist in effigy. By 1851, however, the Methodists boasted a swelling Cape Cod membership, a majority of the church members on Martha's Vineyard, and a governor in the Massachusetts statehouse.


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