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Articled to John Varley
N E W S William Blake & His Followers Blake/An Illustrated Quarterly, Volume 16, Issue 3, Winter 1982/1983, p. 184 PAGE 184 BLAKE AN I.D QlJARThRl.) WINTER 1982-83 NEWSLETTER WILLIAM BLAKE & HIS FOLLOWERS In conjunction with the exhibition William Blake and His Followers at the California Palace of the Legion of Honor, Morton D. Paley (Univ. of California, Berkeley) delivered a lecture, "How Far Did They Follow?" on 16 January BLAKE AT CORNELL 1983. Cornell University will host Blake: Ancient & Modern, a symposium 8-9 April 1983, exploring the ways in which the traditions and techniques of printmaking and painting JOHN LINNELL: A CENTENNIAL EXHIBITION affected Blake's poetry, art, and art theory. The sym- posium will also discuss Blake's late prints and the prints We have received the following news release from the of his followers, and examine the problems of teaching Yale Center for British Art: in college an interdisciplinary artist like William Blake. The first retrospective exhibition in America of the Panelists and speakers include M. H. Abrams, Esther work of John Linnell will open at the Yale Center for Dotson, Morris Eaves, Robert N. Essick, Peter Kahn, British Art on Wednesday, 26 January. Karl Kroeber, Reeve Parker, Albert Roe, Jon Stallworthy, John Linnell was born in London on 16 June 1792. He and Joseph Viscomi. died ninety years later, after a long and successful career The symposium is being held in conjunction with two ex- which spanned a century of unprecedented change in hibitions: The Prints of Blake and his Followers, Johnson Britain. -
Changes in the Appearance of Paintings by John Constable
return to list of Publications and Lectures Changes in the Appearance of Paintings by John Constable Charles S. Rhyne Professor, Art History Reed College published in Appearance, Opinion, Change: Evaluating the Look of Paintings Papers given at a conference held jointly by the United Kingdom institute for Conservation and the Association of Art Historians, June 1990. London: United Kingdom Institute for Conservation, 1990, p.72-84. Abstract This paper reviews the remarkable diversity of changes in the appearance of paintings by one artist, John Constable. The intention is not simply to describe changes in the work of Constable but to suggest a framework for the study of changes in the work of any artist and to facilitate discussion among conservators, conservation scientists, curators, and art historians. The paper considers, first, examples of physical changes in the paintings themselves; second, changes in the physical conditions under which Constable's paintings have been viewed. These same examples serve to consider changes in the cultural and psychological contexts in which Constable's paintings have been understood and interpreted Introduction The purpose of this paper is to review the remarkable diversity of changes in the appearance of paintings by a single artist to see what questions these raise and how the varying answers we give to them might affect our work as conservators, scientists, curators, and historians. [1] My intention is not simply to describe changes in the appearance of paintings by John Constable but to suggest a framework that I hope will be helpful in considering changes in the paintings of any artist and to facilitate comparisons among artists. -
The Hudson River School
Art, Artists and Nature: The Hudson River School The landscape paintings created by the 19 th century artist known as the Hudson River School celebrate the majestic beauty of the American wilderness. Students will learn about the elements of art, early 19 th century American culture, the creative process, environmental concerns and the connections to the birth of American literature. New York State Standards: Elementary, Intermediate, and Commencement The Visual Arts – Standards 1, 2, 3, 4 Social Studies – Standards 1, 3 ELA – Standards 1, 3, 4 BRIEF HISTORY By the mid-nineteenth century, the United States was no longer the vast, wild frontier it had been just one hundred years earlier. Cities and industries determined where the wilderness would remain, and a clear shift in feeling toward the American wilderness was increasingly ruled by a new found reverence and longing for the undisturbed land. At the same time, European influences - including the European Romantic Movement - continued to shape much of American thought, along with other influences that were distinctly and uniquely American. The traditions of American Indians and their relationship with nature became a recognizable part of this distinctly American Romanticism. American writers put words to this new romantic view of nature in their works, further influencing the evolution of American thought about the natural world. It found means of expression not only in literature, but in the visual arts as well. A focus on the beauty of the wilderness became the passion for many artists, the most notable came to be known as the Hudson River School Artists. The Hudson River School was a group of painters, who between 1820s and the late nineteenth century, established the first true tradition of landscape painting in the United States. -
John Constable (1776-1837)
A STROLL THROUGH TATE BRITAIN John Constable (1776-1837) This two-hour talk is part of a series of twenty talks on the works of art displayed in Tate Britain, London, in June 2017. Unless otherwise mentioned all works of art are at Tate Britain. References and Copyright • The talk is given to a small group of people and all the proceeds, after the cost of the hall is deducted, are given to charity. • Our sponsored charities are Save the Children and Cancer UK. • Unless otherwise mentioned all works of art are at Tate Britain and the Tate’s online notes, display captions, articles and other information are used. • Each page has a section called ‘References’ that gives a link or links to sources of information. • Wikipedia, the Oxford Dictionary of National Biography, Khan Academy and the Art Story are used as additional sources of information. • The information from Wikipedia is under an Attribution-Share Alike Creative Commons License. • Other books and articles are used and referenced. • If I have forgotten to reference your work then please let me know and I will add a reference or delete the information. 1 A STROLL THROUGH TATE BRITAIN 1. The History of the Tate 2. From Absolute Monarch to Civil War, 1540-1650 3. From Commonwealth to the Georgians, 1650-1730 4. The Georgians, 1730-1780 5. Revolutionary Times, 1780-1810 6. Regency to Victorian, 1810-1840 7. William Blake 8. J. M. W. Turner 9. John Constable 10. The Pre-Raphaelites, 1840-1860 West galleries are 1540, 1650, 1730, 1760, 1780, 1810, 1840, 1890, 1900, 1910 East galleries are 1930, 1940, 1950, 1960, 1970, 1980, 1990, 2000 Turner Wing includes Turner, Constable, Blake and Pre-Raphaelite drawings Agenda 1. -
Read Book American Wilderness the Story of the Hudson River School
AMERICAN WILDERNESS THE STORY OF THE HUDSON RIVER SCHOOL OF PAINTING 1ST EDITION PDF, EPUB, EBOOK Kevin J Avery | 9781883789572 | | | | | American Wilderness The Story of the Hudson River School of Painting 1st edition PDF Book Here, he painted many of his Hudson River School works of art, eventually marrying the niece of Cedar Grove's owner and relocating to the area permanently. In a period of six years, Reed had assembled a significant collection of European and American art, which he displayed in a two- room gallery in his lower Manhattan home on Greenwich Street. SKU Morse In , Cole, then a calico designer, had a cordial meeting with Doughty, in Philadelphia, and the men encouraged each other to follow their aesthetic interest. In retrospect the main benefit to Cole of returning to England was seeing paintings by J. One of the uncles, Alexander Thomson, continued ownership, and the Coles shared living space with the Thomson family. Artists with a connection to these places:. Sign In. The Editors of Encyclopaedia Britannica Encyclopaedia Britannica's editors oversee subject areas in which they have extensive knowledge, whether from years of experience gained by working on that content or via study for an advanced degree However, recognition of the key roles of these early Hudson River painters in our fine-art heritage is increasing. Members included William Cullen Bryant , prominent literary figure, and historical-genre painter Samuel S. An American art journal called The Crayon, published between and , reinforced the Hudson River School painters and promoted the idea that nature was a healing place for the human spirit. -
Lackawanna Valley
MAN and the NATURAL WORLD: ROMANTICISM (Nineteenth-Century American Landscape Painting) NINETEENTH-CENTURY AMERICAN LANDSCAPE PAINTING Online Links: Thomas Cole – Wikipedia Hudson River School – Wikipedia Frederic Edwin Church – Wikipedia Cole's Oxbow – Smarthistory Cole's Oxbow (Video) – Smarthistory Church's Niagara and Heart of the Andes - Smarthistory Thomas Cole. The Oxbow (View from Mount Holyoke, Northampton, Massachusetts, after a Thunderstorm), 1836, oil on canvas Thomas Cole (1801-1848) was one of the first great professional landscape painters in the United States. Cole emigrated from England at age 17 and by 1820 was working as an itinerant portrait painter. With the help of a patron, he traveled to Europe between 1829 and 1832, and upon his return to the United States he settled in New York and became a successful landscape painter. He frequently worked from observation when making sketches for his paintings. In fact, his self-portrait is tucked into the foreground of The Oxbow, where he stands turning back to look at us while pausing from his work. He is executing an oil sketch on a portable easel, but like most landscape painters of his generation, he produced his large finished works in the studio during the winter months. Cole painted this work in the mid- 1830s for exhibition at the National Academy of Design in New York. He considered it one of his “view” paintings because it represents a specific place and time. Although most of his other view paintings were small, this one is monumentally large, probably because it was created for exhibition at the National Academy. -
The Romantic Sensibility: the Sublime
The Romantic sensibility: the Sublime The sublime is a feeling associated with the strong emotion we feel in front of intense natural phenomena (storms, hurricanes, waterfalls). It generates fear but also attraction. Origin: the term has Latin origins and refers to any literary or artistic form that expresses noble, elevated feelings. Distinction between the beautiful and the sublime: first made by Addison and then by Burke (A Philosophical Enquiry into the Origin of our Ideas of the Sublime and the Beautiful). The beautiful refers to the qualities of the object (the work of art) and is related to the classical ideas of harmony and perfection, while the sublime is the sensation felt by the perceiver. Different effects of the sublime: minor effects: admiration, respect; major effects: terror, fear. • What causes the sublime: fear of pain, vastness of the ocean, obscurity, powerful sources, the infinite, the unfinished, magnificence and colour (sad, dark colours). The sublime is caused either by what is great and immeasurable or by natural phenomena which underline the frailty of man. • Influence on late 18th century literature: this feeling is central in the works of Romantic poets and Gothic novelists, and is linked to a passion for extreme sensations. • Influence on painting: painters like Turner and Constable wanted to express the sublime in visual art. They were landscape painters and, although in different ways, they emphasized the strength of natural elements and studied the effects of different weather conditions on the landscape. For some aspects, they influenced the French impressionists. Romanticism in English painting • Nature and rural life were key-elements of English Romanticism and they were well represented in landscape painting. -
Historical Painting Techniques, Materials, and Studio Practice
Historical Painting Techniques, Materials, and Studio Practice PUBLICATIONS COORDINATION: Dinah Berland EDITING & PRODUCTION COORDINATION: Corinne Lightweaver EDITORIAL CONSULTATION: Jo Hill COVER DESIGN: Jackie Gallagher-Lange PRODUCTION & PRINTING: Allen Press, Inc., Lawrence, Kansas SYMPOSIUM ORGANIZERS: Erma Hermens, Art History Institute of the University of Leiden Marja Peek, Central Research Laboratory for Objects of Art and Science, Amsterdam © 1995 by The J. Paul Getty Trust All rights reserved Printed in the United States of America ISBN 0-89236-322-3 The Getty Conservation Institute is committed to the preservation of cultural heritage worldwide. The Institute seeks to advance scientiRc knowledge and professional practice and to raise public awareness of conservation. Through research, training, documentation, exchange of information, and ReId projects, the Institute addresses issues related to the conservation of museum objects and archival collections, archaeological monuments and sites, and historic bUildings and cities. The Institute is an operating program of the J. Paul Getty Trust. COVER ILLUSTRATION Gherardo Cibo, "Colchico," folio 17r of Herbarium, ca. 1570. Courtesy of the British Library. FRONTISPIECE Detail from Jan Baptiste Collaert, Color Olivi, 1566-1628. After Johannes Stradanus. Courtesy of the Rijksmuseum-Stichting, Amsterdam. Library of Congress Cataloguing-in-Publication Data Historical painting techniques, materials, and studio practice : preprints of a symposium [held at] University of Leiden, the Netherlands, 26-29 June 1995/ edited by Arie Wallert, Erma Hermens, and Marja Peek. p. cm. Includes bibliographical references. ISBN 0-89236-322-3 (pbk.) 1. Painting-Techniques-Congresses. 2. Artists' materials- -Congresses. 3. Polychromy-Congresses. I. Wallert, Arie, 1950- II. Hermens, Erma, 1958- . III. Peek, Marja, 1961- ND1500.H57 1995 751' .09-dc20 95-9805 CIP Second printing 1996 iv Contents vii Foreword viii Preface 1 Leslie A. -
An Eye for Landscapes That Transcend Nature,” the New York Times, May 22, 2009
Genocchio, Benjamin. “An Eye for Landscapes That Transcend Nature,” The New York Times, May 22, 2009. An Eye for Landscapes That Transcend Nature One’s lasting impression of the April Gornik exhibition at the Heckscher Museum of Art in Huntington is the sheer virtuosity of the pictures. They glow with mystery and grandeur. Landscape painting of this quality is not often seen on Long Island. Assembled by Kenneth Wayne, the museum’s chief curator, the show focuses on the artist’s powerful, large-scale oil paintings. There are a dozen pictures, created roughly from the late 1980s to the present, nicely displayed in two of the Heckscher’s newly renovated galleries. The removal of a false ceiling in them has allowed the museum to accommodate much larger works than it could before. New Horizons. The large-scale oil paintings by April Gornik on display at the Heckscher include “Sun Storm Sea” (2005). At 56, Ms. Gornik is already a painter of eminence. She has had shows around the world, and her work is in several major museum collections, including those of the Metropolitan Museum of Art, the Museum of Modern Art and the Whitney Museum of American Art. I would place her among the top landscape artists working in America today. That this is Ms. Gornik’s first major solo exhibition on Long Island in more than 15 years seems an oversight, especially given that she lives part of the year in Suffolk County. But better late than never, for there are probably dozens of artists living and working on Long Island who are deserving of shows. -
Explore the Painting John Constable Salisbury Cathedral from the Meadows 1831
Explore the painting John Constable Salisbury Cathedral from the Meadows 1831 Salisbury Cathedral from the Meadows 1831 John Constable (1776 – 1837) Photograph © Tate, London 2013 Purchased with assistance from the Heritage Lottery Fund, The Manton Foundation, the Art Fund (with a contribution from the Wolfson Foundation) and Tate Members. When this painting was exhibited at the Royal Academy, Constable quoted nine lines from The Four Seasons: Summer (1727) by Scottish poet James Thompson to expand on its meaning. As from the face of heaven the scatter’d clouds Tumultous rove, th’interminable sky Sublimer swells, and o’er the world expands A purer azure. Through the lightened air A higher lustre and a clearer calm Diffusive tremble; while, as if in sign Of danger past, a glittering robe of joy, Set off abundant by the yellow ray, Invests the fields, and nature smiles reviv’d James Thompson, The Seasons: Summer (1727) www.museumwales.ac.uk 1 The poem tells the mythical tale of young lovers Celadon and Amelia. As they walk through the woods in a thunderstorm, the tragic Amelia is struck by lightning, and dies in her lover’s arms. The poem has a religious message: it is an exploration of God’s power, and man’s inability to control his own fate. It is also a poem of hope and redemption. The rainbow appears as a ‘sign of danger past’. The subject has clear resonances with Constable’s own personal grief. His wife Maria died of tuberculosis in 1828, after just twelve years of marriage. It is likely that the poem had special significance for the young couple. -
Romanticism in European Literature
A sample entry from the Encyclopedia of Religion and Nature (London & New York: Continuum, 2005) Edited by Bron Taylor © 2005 All Rights Reserved 1422 Romanticism in European Literature what exceeded such boundaries, Romantic works are often the “sublime,” encouraged by the popularity of artists like difficult to engage and hence it is understandable that Salvator Rosa (1615–73), resulted in a new “aesthetics of their significance has been variously construed. As Bate the infinite” that coincided with changing religious views and Oerlemans convincingly demonstrate, however, of nature. critical engagement with Romantic works can be Behind the Latin tags natura naturans and natura an important stimulus for reflection on nature and naturata lie roots extending as far back as Classical times, religion of particular relevance to the concerns of modern but now revived in complex ways. The latter consists of environmentalism. the “forms of nature,” laid out to be investigated and observed. The former, literally “nature naturing,” is nature Joan Steigerwald experienced as active, dynamic and constantly changing. It refers to that animating principle that gives life to the Further Reading objects of nature, which may remain at the disposal of Abrams, M.H. Natural Supernaturalism: Tradition and God, or else be regarded as a pantheistic “presence” or a Revolution in Romantic Literature. New York: W.W. “power of harmony” that in Wordsworth’s “Tintern Norton, 1971. Abbey” “rolls through all things” without God’s help. For Bate, Jonathon. Romantic Ecology: Wordsworth and the the Anglican priest John Keble, however, the Book of Environmental Tradition. New York: Routledge, 1991. Nature is precisely to be “read” as an indication of the Bénichou, Paul. -
Survey the Library Resources in the Eight Mid-Hudson Counties of Columbia
DOCIMENT RESLME ED 032 889 LI 001 311 By -Reichmann, Felix; And Others Library Resources in the Mid-Hudson Valley: Columbia, Dutchess, Greene, Orange, Putnam. Rockland. Sullivan, Ulster. Spons Agency-Mid-Hudson Libraries. Poughkeepsie. N.Y.; Ramapo Catskill Library System. Middletown. N.Y. Pub Date 65 Note -519p. EDRS Price MF -$2.00 HC -$26.05 Descriptors -Centralization. College Libraries. *Library Cooperation. sr-ibrary Networks. *Library Planning. Library Services, *Library Surveys, Public Libraries. School Libraries. Special Libraries Identifiers-New York The purpose of this study was to "survey the library resources in the eight Mid-Hudson Counties of Columbia. Dutchess. Greene. Orange, Putnam. Rockland. Sullivan. and Ulster in order to develop a plan of service in which assets would be shared. resources developed, and services extended." Survey data were collected by six questionnaires; visits and evaluations of college, public and special libraries; and a review of the literature of the field. Study findings are presented in sections on the history of the region, the present situation. and libraries of all types. A summary and projections are also included. Thirty-five specific recommendations are made which cover overall planning. public libraries. college libraries. school libraries. central services, and future development. The basic recommendation of the study is that the eight counties of the Hudson Valley be considered as a unified library area, with the Southeastern New York Library Resources Council designated as theagency to work toward integration of alllibraries at alllevels in the eight counties. Appendixes include tables of survey data. the survey questionnaires. and checklists used in the library evaluations.