| Papers [1-16] of 100 :: [Page 1 of 7] | | Go to page : 1 2 3 4 5 6 7 —> | Search results on "LANDSCAPE PAINTING": |
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The Rules of Landscape Painting and the Poetic Practice of Xie Ling-Yun, 2002.
A review of Xie Ling-Yun's poem "Visiting the Southern Pavilion" in light of the generic rules of landscape painting.
1,400 words (approx. 5.6 pages), 2 sources, AU$ 57.95
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Abstract
This paper will discuss the representation of the natural landscape in Xie Ling-yun's poem "Visiting the Southern Pavilion". It will be shown, through a comparative analysis of Chinese texts on landscape painting, that Xie Ling-yun's poem plays with, and is juxtaposed against, the generic rules of landscape painting. The poetic landscape, which appears to be a celebration of the beauty of summer, is actually a reflection upon mortality and suffering. From this perspective, Xie Ling-yun's poem may be seen to have philosophical depth lacking in most landscape painting.
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Landscapes Painting, 2002.
A review of two landscape paintings, "Landscape with Saint John on Patmos" by Nicolas Poussin and Paul Cezanne's "Mont Saint- Victoire".
1,900 words (approx. 7.6 pages), 8 sources, AU$ 76.95
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Abstract
This paper analyzes two pieces of art in terms of their content and design, as well as investigating the periods during which these pieces were produced. The two works that are explored are "Landscape with Saint John on Patmos" by Nicolas Poussin and Paul Cezanne's "Mont Saint- Victoire". Both images are of landscapes featuring mountains, yet the overall composition and execution of both pieces is remarkably different
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Landscape in Chinese Literature, 2002.
A discussion of the relationship between landscape poetry and landscape painting in works by Xie Ling-yun and Fan K'uan.
1,650 words (approx. 6.6 pages), 4 sources, AU$ 67.95
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Abstract
In Chinese art and literature the representation of landscapes is frequently encountered. Over centuries, artists and poets have devised complex grammars that govern their depiction of the natural world. This paper will explore these grammars with respect to works by Xie Ling-yun, China's premier early landscape poet and Fan K'uan, one of the greatest of all Chinese landscape painters. Two respective works of this poet and painter will be discussed in order to demonstrate two singularly different approaches to the idea of the artistic representation of landscape.
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Thomas Cole's Painting: "The Architect's Dream", 2007.
This paper discuses Thomas Cole's painting "The Architect's Dream" (1840, oil on canvas) housed in the Toledo Museum of Art.
1,410 words (approx. 5.6 pages), 4 sources, APA, AU$ 50.95
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Abstract
This paper explains that the painting "The Architect's Dream" by American artist, Thomas Cole, masters historical perspective by combining structures from several epochs--Egypt, Greece, Rome and Europe--within the confines of a simple painting, thus depicting the evolution of architecture. The author points out that Cole, who was the founder of the Hudson River School, a group of artists that followed the style of American romanticism and realism, filled the landscape of this painting, accurately and in detail, with human structures of each age. The paper concludes that this piece of art from the romantic times is not so much a history lesson as it is a story of human ingenuity and spirit, which praises man's triumphs throughout the ages by giving tribute to the beauty of history's great accomplishments that still inspire humankind today.
From the Paper
""The Architect's Dream" is a large painting, about 8 feet long by 6 feet tall. Just looking at the different buildings throughout the eons is very enthralling. And so, I stood in front of this painting for at least ten minutes just taking in the sheer power of it. I imagined what it would look like IF someone actually built a city like the one Thomas Cole painted. I could see the romanticism in the expression on the Architect's face as he lays relaxed and wondering about his strewn books. I put myself in his position and tried to imagine looking upon such a dream city, but in reality."
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Painting by Lawren S. Harris, 2006.
An analysis and description of paintings by Lawren S. Harris.
2,076 words (approx. 8.3 pages), 4 sources, MLA, AU$ 70.95
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Abstract
In this study the author looks at how Lawren Harris divided his time between painting the landscapes of the North Country - and later the Rockies - and the urban landscapes of the working class of Toronto and Halifax. He examines how in these works, Lawren uses bold applications of color and simplicity of form. The author analyzes how Lawren's paintings, as his career progressed, became studies in form and color until the time he moved into non-objective compositions. Thesis Statement The Initial Group of 7 North Shore, Lake Superior The Medium and Materials of North Shore, Lake Superior Contrasts of North Shore, Lake Superior With Other Work Harris' Impact on Canadian Art
From the Paper
"World War I interrupted the forward progress of the group as all were called into military service. Following the war and back in Toronto the group and particularly Harris made several sketching trips to the vast Algoma region of northern Ontario. It was here that Harris found the inspiration for some of his greatest paintings. Algoma was still a wilderness where traveling was difficult. "
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Stuart Davis's "Landscape with Garage Lights", 2003.
An analysis of modern painter Stuart Davis's "Landscape with Garage Lights" in an historical context.
954 words (approx. 3.8 pages), 3 sources, MLA, AU$ 36.95
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Abstract
This paper examines how, while much of art progressed toward abstraction in the early part of the twentieth century, Regionalist painting continued relatively the same. One artist, Stuart Davis, spear-headed the movement to paint the American scene in a imaginative new way. It looks at how one of his works, "Landscape with Garage Lights," is a prime example of this progression of art and how it proved to be a new benchmark in Regionalist painting. It also shows how, by rejecting earlier traditionalist beliefs and embracing modern influences, he comments on the urban American life with abstract forms and highly saturated colors, creating a truly unique and upbeat work of art.
From the Paper
"Matisse and the emergence of jazz also influenced Davis. Matisse helped pioneer the use of highly saturated colors in his works, and this concept did not go unnoticed by Davis. Although these saturated colors did not truly represent any real landscape, that did not stop Davis from making use of them. In Landscape with Garage Lights there are strong reds, oranges, blues, and greens. Every color seems to be of the variety that a child could easily pull out of his/her small box of Crayola crayons. However, this assortment of primary colors causes the work to evoke an upbeat response. This upbeat response can be compared to the rise of jazz music during the period. Jazz was a new, experimental, and colorful way to write and play music."
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Landscape Geography, 2006.
This paper discusses landscape geography in relation to culture and offers two Ontario examples.
1,800 words (approx. 7.2 pages), 5 sources, AU$ 76.95
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Abstract
The paper indicates the advantages of the subfield of landscape geography that is distinct from other sub-disciplines, discussing two Ontario examples that reveal how landscapes can shape more than one culture according to human relationships. The paper presents research/fieldwork towards inner city Toronto's landscape shaping 'homeless' culture and also how the Muskoka landscape influences local and visiting cultures. The paper examines how it is the same landscape but different phenomena, due to use/economic interaction with an environment.
From the Paper
"The study of landscape geography has involved a long struggle to distinguish its subject matter and approaches from those of physical geography. Landscape geographers make much not of local details within phenomena, but towards a good deal of theory to do with both a landscape's influence on culture and the aesthetics of geography. In some respects, landscape geography is like the study of ecology in attention to soil types, vegetation and the effects of land formations or waterways. There is much in common with fields of historical and human geography, too, in the attention given habitation, patterns of settlement or how local cultures have been influenced by terrain and climate."
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People and Landscape, 2002.
Questions the relationship between people and landscape.
2,400 words (approx. 9.6 pages), 5 sources, AU$ 96.95
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Abstract
It is on this second level that this essay will be addressing the question of the relationship between people and landscape. It will be argued that the landscape serves human societies, in a sense, as a mirror that reflects our own values, prejudices and beliefs. As will be seen, this view of the landscape carries significant risks for both humans and the ecosystem as it often obscures our perception of the realities of the environment of which we are a part.
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Landscape in Literature, 2003.
A comparison of the use of landscape in "Wuthering Heights" by Emily Bronte and "Tess of the D'Urbervilles" by Thomas Hardy.
6,925 words (approx. 27.7 pages), 15 sources, APA, AU$ 169.95
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Abstract
This paper provides an in-depth discussion on the use of landscape description in two novels: "Wuthering Heights" by Emily Bronte and "Tess of the D'Urbervilles" by Thomas Hardy. It focuses on the symbolic use of landscape, the position of man in the natural world and the effect that Darwin's theory had on the attitude towards nature and the effect that this had on Victorian writers. It shows how both Hardy and Emily Bronte found inspiration in their native landscape; Hardy from Dorset and Emily Bronte from the Yorkshire moors and how both novelists based their landscape descriptions either partially or wholly on their native region.
From the Paper
"Hardy features prominently as one of our great visualizers; he is a landscape novelist, and his descriptive passages are central to his fiction. He brings poetic techniques to his fiction, and writes using symbols and images. In Hardy, the sense of time and place is very strong. George Sampson points out that the landscape descriptions in Hardy's novels take on more significance than do his characters: "The most impressive character in his novels is not a person, but a place" Indeed, nature is frequently personified and given individuality in Hardy's novels. Trees have "inquisitive eyes" , the river speaks as though it were human: "the river says, - 'why do ye trouble me with your looks'" , and the "rhubarb and cabbage plants slept" ."
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Landscape in "Last of the Mohicans", 2006.
This paper discusses the landscape vividly described in James Fenimore Cooper's classic novel, "The Last of the Mohicans."
1,120 words (approx. 4.5 pages), 1 source, APA, AU$ 41.95
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Abstract
The writer of this paper details why the landscape in this novel is a central character and is described in spiritual terms rather than physical ones. There is an emotional tone of foreboding and the landscape is always described in terms that dwarf the actual characters in the book. The paper shows how the author opts for the factual when describing the landscape, and delves into the mythic symbolism that can be found in certain descriptive passages.
From the Paper
"These descriptions are in keeping with the nature of a frontier as the area where things come together with their conflicting forces. The force of the colonists is to tame the frontier. The force of the indigenous natives is to keep it as it is. The landscape of the frontier itself becomes symbolic of both groups of characters in opposition to each other. In this way it actually becomes a personification of each."
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Landscape in Two Chekov Tales, 2002.
Looks at the symbolism of landscape in "The Lady with the Dog" and "Gooseberries" by Chekov.
650 words (approx. 2.6 pages), 4 sources, AU$ 28.95
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Abstract
Landscape in literature provides the structure of symbolism and motif that drives novels and stories. Chekov's use of landscape provides, in many ways, some of the richest literary symbolism of the 19th century. It is the purpose of this paper to examine the use of landscape within the context of two of Chekov's stories, "The Lady with the Dog" and "Gooseberries".
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Landscape and Nation in Literature, 2002.
Examines the relationship between landscape and aation in Bronte's "Jane Eyre" and Milton's "Paradise Lost".
1,150 words (approx. 4.6 pages), 2 sources, AU$ 47.95
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Abstract
In literature, landscape and nation can be reflections of the owner, of the prevailing level of spiritual or figurative health of the owner or community and are direct connections between the characters and the society in which they live. Two works, Milton's "Paradise Lost", and Bronte's "Jane Eyre", employ landscape as a reflection of the characters. Social movements of pre-industrial England, were to shy away from the press of the urban areas, to describe them in terms of stark limitations where the soul could not grow - literally and figuratively. In the countryside, however, there is both beauty and isolation that symbolize a person's soul and path in life. Nation is used in literature to imply the unifying precepts upon which a life is built but it is also used at times as a symbol of imperialism. Nation is the archetype that guides all behaviors and makes all behaviors variations on their theme it is also that which justifies the manipulation of the land - nation is Manifest Destiny. It is the purpose of this paper to explore the relationship between landscape and nation in "Jane Eyre" and "Paradise Lost".
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"Joan of Arc" Painting, 2007.
This paper offers a critique of Jules Bastien-Lepage's painting "Joan of Arc".
1,200 words (approx. 4.8 pages), 1 source, MLA, AU$ 44.95
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Abstract
In this article, the writer discusses that the "Joan of Arc", painted by the French artist Jules Bastien-Lepage, during the Impressionist era in 1879, reflects the artist's belief that art should depict nature's truth. The writer points out that Bastien Lepage's views, which made very specific and clear observations about existence and life, made his work both distinctive and unique. This essay critiques Jules Bastien-Lepage's 'Joan of Arc' through analyzing the painting's composition, which included line, form, balance, repetition, and focal point. Some discussion is then given to the artist's use of color and texture, while reflecting on the suggestion of space. Finally, the paper concludes with a personal consideration of this 19th century masterpiece.
Outline:
Introduction
Joan of Arc - A Mystic Euphoric
Conclusion
From the Paper
"When first viewing this picture, it would that Jules Bastien-Lepage created a realistic scene: A beautiful stone cottage, so typical of those throughout the French countryside, which is surrounded by a delightful working garden filled with fruit, vegetables, and flowers. Towards the left side of the painting, stands an old, gnarled apple tree, while to its right, stands a young peasant girl. Behind her, however, and just in front of the cottage, hovers the supernatural presence of three spiritual beings. Their transparent bodies almost blending with the cottage walls and the garden, they stare down at the young Joan of Arc, who, it would appear, is listening to something."
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"Large Bad Picture": Positioning the Painting, 2005.
Examines the role of the painting in ekphrastic poetry, using Elizabeth Bishop's poem, "Large Bad Picture" as an example.
1,870 words (approx. 7.5 pages), 3 sources, MLA, AU$ 64.95
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Abstract
This paper examines the role of paintings in ekphrastic poetry (the rhetorical description of a work of art). It shows how Elizabeth Bishop makes her fictional painting 'real' through her poem, "Large Bad Picture". It presents a comparison between "Large Bad Picture" to W.H. Auden's "Musee des Beaux Arts." The paper also provides an examination of how Bishop divides her poem between setting the scene and then delivering the poem's argument.
From the Paper
"Having settled her reader comfortably, Bishop then takes the next two stanzas to describe in clear, precise language the subject of the painting. In one long sentence enjambed over two stanzas, she describes the sunset, the span of high blue cliffs and the small caves that dot their base. The final line of the third stanza returns the reader to the title describing the caves that riddle the cliffs as being "masked by perfect waves." (12). Her description of the waves as being "perfect" give the first hint of her contention that this is a bad picture. The reader begins to understand that this composition, while possibly well executed, is unrealistic, that the painter has seen perfection in natural phenomina that are inherently imperfect and organic."
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Digitally Enhanced Painting, 2005.
A paper looking at the various aspects of digital painting enhancement.
2,025 words (approx. 8.1 pages), 10 sources, MLA, AU$ 77.95
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Abstract
This paper explores the various aspects of digital painting enhancement from ethical concerns to techniques. The paper looks at how digital enhancement allows the artist to go beyond the limitations of the brush, bringing a new dimension to art. The paper contends digital enhancement should be considered as just another tool for the artist to use.
From the Paper
"Every time technology moves ahead, invading the world of art, we are presented with exciting new opportunities along with difficult challenges. Such is the case with the advent of digitally enhanced painting. Digital enhancement allows us to push the envelope, invent new forms of expression, add rich dimension to old forms and step into the refreshing world of the unexplored. Although digital enhancement is resisted by some people for what are probably excellent reasons, it is embraced by others for reasons just as laudable..."
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John Berryman's Poem "Winter Landscape", 2005.
A paper examining the "shape" of John Berryman's poem "Winter Landscape".
1,666 words (approx. 6.7 pages), 1 source, MLA, AU$ 58.95
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Abstract
This paper explicates "Winter Landscape" line by line, examining the construction of the poem - how it moves through the story - and Berryman's use of imagery and repetition to explore themes of human history and ultimately death.
From the Paper
"In addition to choices of form and meter, there are also decisions to be made as to the shape of a poem. Is there a linear progression through the piece as in Coleridge's Lime Tree Bower? Is the poem modular with each unit or strophe capable of standing alone as in Stevens' Blackbird? At first reading, John Berryman's "Winter Landscape," an ekphrastic work based on Breughel's painting "Hunters in the Snow," appears to be linear with three men returning to a village after a hunting expedition. However, through the repetition of images, Berryman turns the poem back on itself into a circle, a move which provides the reader with the clear progression afforded by a linear journey but also with a sense of satisfaction and completion through this final circular transit."
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