In this response, I intend to discuss Arthur Streeton’s Fire’s On, a 183.8 x 122.5cm oil on canvas painting, produced in 1891 in the Blue Mountains of New South Wales, Australia. Fire’s On depicts the steep “walls of rock” “crowned” with “bronze green” “gums” and the “crest mouth” that he encountered on his journey through the Blue Mountains. Streeton created this painting to justly portray the rough, “glor[ious]”, unsung landscape of Australia, namely its “great, gold plains” and “hot, trying winds”. The most interesting features of this work under the formal framework are the use of the rule of thirds in the composition of the horizon, showing the “walls of rock” to “run high up”, and the use of contrast to render the “great dragon’s mouth” the focal point of the painting.…
Fred utilises the technique of a high horizon to signify the vastness of the expansive land. It contrasts its size with the sky allowing the land to appear more open and spacious. Through the emphasis of this great land almost invading the whole of the canvas space, William’s use of this technique brings focus to the audience of how desolate and isolated the scenery is.…
Mount Analogue is a vivid, bright and wonderfully detailed traditionally set out interpretation of a real landscape. The artwork is set up in 165 small canvas boards placed together to create a massive scaled artwork (279x571cm.) In the foreground we are positioned on the rocky face of a cliff along with five other hikers painted very small staring out into a massive mountain range stretching very far to a clear horizon line and to a small strip of blue sky. The oil stick and polymer paint used is able to make the white’s brown’s and oranges of the slightly snow covered mountains stand out quite brightly against the dark rocks in the foreground. Shapes, textures and lines of the mountains in this artwork are very realistic through the use of small brushes with detailed and precise strokes, and though Robinson uses the same methods to paint we are given a very different perspective of ‘landscape.’…
Based on traditional landscape painting methods, Cropsey made clear observation of different landscapes of nature and drew sketches of them. He then combined them to create a larger, composite landscape painting. Here, we can see that he presents a Romantic panoramic landscape view in his canvas and organized spatial recession in this landscape with the use of light and color. The painting can almost be divided into three main parts: a dark foreground, a bright middle ground and a translucent background. In the foreground, he depicts the wilderness in a dark tone. In the center, Cropsey uses a warm golden yellow to brighten the cultivated hay fields of the family farm. Not only it creates a contrast with the dark surrounding wilderness, but it also was a recognizable style of the artist’s time. With that said, we can tell that this painting has a relative clarity, and that Cropsey might intend to make a focus upon the things in the middle. To recede the viewer’s eyes to the background, Cropsey uses a lighter and cooler color to portray the objects, for example, the grayish-blue mountains and translucent clouds. It creates an illusion of three-dimensional space and furthers the distance away from the viewer. The brushwork of the painting is evidently loose, which gives a painterly effect. Therefore, we can say that Cropsey depicts the scenery by…
The individual elements that can be seen in the picture plane include the “deep blue”, cloudless sky, the foreground for which is the steep “walls of rock”, “run[ning] high up” and “crown[ed]” with “gums bronze green”. The “deep blue azure heaven”, flat and unvarying across the backdrop, as well as the steepness of the crest and the tonal sharpness and irregular form of the rocks, are together an expression of “nationalistic sentiment”, distinguishing Australian from European landscape and “celebrat[ing] the [latter’s] unique qualities”. Incidentally, the scarcely perceptible miners depicted in Fire’s On, render the Australian terrain heroic, as it undoubtedly overshadows the “human drama” shown within the picture plane. Furthermore, the smoke that radiates from the “great dragon’s mouth”, the focal point of the painting, evokes in the viewer Streeton’s fascination with the transience of fire. This is characteristic of an Impressionist, as such a painter seeks to capture the shifting effects of light and colour with the greatest…
Although people from England settled in the Chesapeake and New England area, the regions evolved into two distinct societies due to their differences in religion, politics, and especially, economies by 1700.…
Frederick Edwin Church’s “Niagara” uses framing, scaling, and omission to demonstrate that he considered nature far more important than civilization. Church painted the viewer closer to the falls and suspended them above the ledge to intensify the greatness of the falls. He painted the falls from the Canadian shore while other painters before him did not; 180 degrees behind the painting there lies a city. The horizontal form of the painting helps to demonstrate the grandness of the falls. He uses a notable depiction of light, streaks of white, and water to emphasize the rushing power of the water. He adds the rainbow in his painting to guide the audience to look directly at the falls. He wants the onlooker to only pay attention to the falls…
Although New England and the Chesapeake region were both settled largely by the people of English origin, by 1700 the regions had evolved into two distinct societies. The reasons for this distinct development were mostly based on the type on people from England who chose to settle in the two areas, and on the manner in which the areas were settled. <br><br>New England was a refuge for religious separatists leaving England, while people who immigrated to the Chesapeake region had no religious motives. As a result, New England formed a much more religious society then the Chesapeake region. John Winthrop states that their goal was to form "a city upon a hill", which represented a "pure" community, where Christianity would be pursued in the most correct manner. Both the Pilgrims and the Puritans were very religious people. In both cases, the local government was controlled by the same people who controlled the church, and the bible was the basis for all laws and regulations. From the Article of Agreement, Springfield, Massachusetts it is clear that religion was the basis for general laws. It uses the phrase "being by God's providence engaged together to make a plantation", showing that everything was done in God's name. The Wage and Price Regulations in Connecticut is an example of common laws being justified by the bible. Also in this document the word "community " is emphasized, just as Winthrop emphasizes it saying: "we must be knit together in this work as one man". The immigrants to New England formed very family and religiously oriented communities. Looking at the emigrant lists of people bound for New England it is easy to observe that most people came in large families, and large families support the community atmosphere. There were many children among the emigrants, and those children were taught religion from their early childhood, and therefore grew up loyal to the church, and easily controllable by the same. Any deviants from the regime were silenced or…
In his critique, “The Trouble with Wilderness or Getting Back to the Wrong Nature,” William Cronon argues against the romantic conceptualization of nature that a great portion of the environmentalist movement has embraced. Subsequently, Cronon revokes the Romantic and even quasi-religious notion that wilderness spaces are separate from those inhabited by man. He argues that by eliminating the divide in perception between the human constructs of the natural world and the civilized world, man will be encouraged to take more responsibility for his actions that negatively impact the environment. In prefacing his conclusion, he writes, “Home, after all, is the place where finally we make our living. It is the place for which we take responsibility,…
Travelers among Mountains and Streams is comprised of several design elements. Form, leading lines, and shape. These design elements move the eye throughout the painting in a continuous interaction between the elements. Each section is well balanced and rich in content. The large mountain in the foreground sets the foundation for the painting by serving as a barrier, keeping the viewers eyes from leaving the page. The area showing the travelers moving in the stream sets a sense of motion, engaging the eye to travel through the painting. The grand scale of all the elements inspire the viewer to be transported into the realm of fantasy promoted by Northern Song painters. The painting takes on a naturalistic feel that is derived from the combination of paint, ink, and silk. The people and mules moving through the stream bring a sense of scale to the painting. They are an important element in that they are in direct comparison to the large Mountain. The helps promote the idea that there is something bigger than all of of us and that humans are somehow spiritually connected to the earth. An important idea that Northern Song Artist aspired to communicate through ere work. The painting is done in a realistic approach yet is not set in a specific place further enhancing the dream like quality meant to promote spiritual communication and enlightenment. This interpretation is about the balance between the countryside and mans attempt to conquer it brought to life in the form of a painting by Fan Kuan. In the painting the small humans are engulfed by the enormous mountains giving the effect of unattainability, yet the human spirit to conquering the elements arises out of the need explore. The human and animals traveling through the stream give the…
Maine’s geography affects population distribution and employment opportunities because we have a coast next to the ocean. This means that we have the opportunity to be able to fish and lobster where as if we lived in another state not near the coast we wouldn’t be able to employ or have the opportunity to do this. We are quite fortunate for this but it also brings some challenges. One being that we have a certain amount of time to catch all the fish and lobster that is needed. There is a tight schedule due to the seasons changing and there is only a set amount of time to catch what is needed. The thing about Maine that gives it it’s greatest advantage is that it is the closest to Europe.…
Western Australia has an abundance of nature scenery to offer visitors, with several parks located around Perth. Explore the timeless beauty of nature in these stunning national, and marine parks.…
The painting, Sierra Nevada, depicts beautiful distant mountain peaks covered by dense fog and clouds. A river flows through a valley in the mountains that forms into…
For this paper I will use the allusions within the text to these paintings as well as outside resource of analyses of these works of art. Jamie Yurasits writes in “Analysis of Claude Monet’s Impression, Sunrise”, “This usage of a noticeably bright color draws attention to the main focus of the painting, the sun.” I believe this is important on many different levels. Jack knows about the sun, but as the reader knows, Jack views things outside of Room as quasi fictional. Also I believe the title of the art is important to the story because Jack has never seen a sunrise. Therefore, the only thing Ma can show him is an impression of one. What better impression of a sunrise can she show him than Impression, Sunrise? Yurasits also mentions, “Numerous vertical elements can be found throughout this hazy landscape”. Perhaps this is alluding to the way the eye is drawn from the small mass in the bottom of the frame, the two people in the boat, to the larger world surrounding; much like the understanding of Jack and Ma from the reader’s perspective.…
Paul Cezanne, Pines and Rocks, 1896-99 Oil on Canvas Museum of Modern Art This simple painting of a small, intimate landscape is a good example of Paul Cezanne's mastery of the impressionist style. The scene is of a rocky path, possibly a hiking trail on the side of a mountain, and a few trees that veil the sky in patches of leaves. Cezanne's method of painting is rather interesting, in that he paints each stroke like a plate of color, creating an overlapping mosaic. The palette he chose is also remarkable with bright, almost cartoonish shades of pigment that give an underlying sense of realism to the painting. Looking at Cezanne's work often makes one wonder if impressionism is a study of light being cast on objects or of life being cast out…