DOCSLIB.ORG

LANDSCAPE PAINTING: Artists Who Love the Land

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

TEACHING WITH THE POWER OF OBJECTS Smithsonian Institution March/April 1996 LANDSCAPE PAINTING: Artists Who Love the Land Inside Lesson Plan Take-Home Page in English/Spanish Subjects Art Geography Language Arts U.S. History Grades 4–9 Publication of Art to Zoo is made possible through the generous support of the Pacific Mutual Foundation. CONTENTS Introduction page 3 Lesson Plan Step 1 page 5 Activity Page 1A page 7 Activity Page 1B page 8 Activity Page 1C page 9 Activity Page 1D page 10 Lesson Plan Step 2 page 11 Activity Page 2 page 12 Take-Home Page page 13 Take-Home Page in Spanish page 14 Resources page 15 Art to Zoo’s purpose is to help teachers bring into You may request a their classrooms the educational power of museums large-print or disk and other community resources. version of Art to Zoo Art to Zoo draws on the Smithsonian’s hundreds by writing to the of exhibitions and programs—from art, history, and address listed on the science to aviation and folklife—to create classroom- back cover or by faxing ready materials for grades four through nine. to (202) 357-2116. Each of the four annual issues explores a single topic through an interdisciplinary, multicultural approach. The Smithsonian invites teachers to duplicate Art to Zoo materials for educational use. LANDSCAPE PAINTING: Artists Who Love the Land How does an artist create a landscape? A landscape artist is a sort of magician who can create a whole world on a piece of flat canvas. This world, of course, is made of paint. Trees that seem thick with foliage are made with a few flicks of a paintbrush. Lakes that shine, waterfalls that splash, grasses that bend in the wind, and dark clouds that promise rain are all made of colors squeezed out of a paint tube. How amazing it is that small dabs and smears of color can create places for us to go in our imagination: a placid river winding around hills, a rocky shoreline where we can almost hear the crashing waves, an enormous canyon that seems to stretch miles deep into the distance. Air is an important part hill, he can leave some of colors of nature—the soil, can enter the painting and of any landscape as well, them out of his picture. If he the clouds, and the reflec- continue walking for miles. although we seldom give it thinks the trees are in the tions on water. He can study Landscape artists know much thought. An artist has wrong place, he can move the patterns of sunlight and that there are certain tech- to paint the air so skillfully them around. If a riverbank shadow that change with niques that work. Five “space that we seem to feel the heat looks too empty, he can every passing moment. On tricks” that students can try of the sun and the rush of the add a few rocks that aren’t the other hand, if he chooses out for themselves are wind. He or she has to make really there. to paint inside his studio, described in this Art to Zoo: us believe that it might take A landscape artist also he can work more slowly, hours for a bird to fly from has to decide what she rearrange the composition, 1. A winding path. one side of the picture frame wants us to see. If she is and adjust the colors and A path or river that winds to the other. All of this is painting a field, she has to shapes to his own way of through the landscape from hard to do. There are no decide whether she wants us seeing. Many artists find foreground to background paint tubes for sale labeled to see each blade of grass or both methods useful. They can make us believe that the “sunshine,” “frosty air,” whether she wants us to see make sketches outdoors and picture describes a deep “gentle breeze,” or “gloomy the field as a smear of color. then do the actual painting space. day.” An artist has to create She can paint her landscape back in their studio. 2. Changes in size. the wind, the sunshine, and so that we see the field from A tree that is close to us the mist with the paint at the above, as if we were looking appears much larger than a end of the brush. down from an airplane, or CREATING ILLUSIONS tree of the same size that is It is important to remem- from the ground, as if we far away. ber that a landscape artist is were lying flat on a picnic No matter where the land- not a camera that records blanket. scape artist chooses to set 3. Overlap. whatever happens to be in Before making any of up his easel, he will have to A boulder that is close to us front of the lens. He is not these decisions, the land- confront the central problem overlaps and partially hides a required to paint exactly scape artist must decide posed by all landscapes— much larger cliff behind it. what he sees. If he feels that whether to work outdoors creating the illusion of deep there are too many trees on a on the land or indoors in the space on a flat canvas. When studio. Working outdoors done well, the effect can be allows him to observe the spellbinding. We feel that we 4. Changes in clarity. seacoast of Maine. All four ABOUT THE ARTISTS A distant mountain range painters helped Americans appears more hazy and less see and love their land in a George Catlin Albert Bierstadt distinct than a mountain that time when photography was George Catlin was an east- Albert Bierstadt went to is closer. still in its infancy and travel erner who had been fascinat- California in 1859 with a films did not exist. Today ed with Native Americans land-surveying team after the 5. Diagonal composition. television floods us with since boyhood. When he gold rush had aroused the Land that moves away from images, and we can easily was thirty-four years old, he curiosity of the entire nation. us on the diagonal appears to travel by car, train, or plane decided that painting pictures At that time, easterners had move back into space. to whatever river, mountain, of Native Americans would to learn about the magnifi- canyon, or seacoast we wish be far more interesting than cent California wilderness George Catlin, Thomas to visit. Yet the silent paint- being a lawyer. So, in 1830 from small black-and-white Moran, Albert Bierstadt, and ings of these artists still he headed west. For six photographs brought home Winslow Homer were four speak to us of the majesty years, he moved from village by land surveyors. But American artists who used of our land. to village, using the Missouri Bierstadt was an artist these techniques well. Their Through the study of River as a means of travel. with a shrewd business ultimate purpose was not so several works of art, this He painted portraits of tribal sense. He knew that if much to impress us with issue of Art to Zoo explores chiefs and scenes of buffalo he produced impressive, their ability to fool our eyes the way that Americans felt hunts, dances, and other panoramic “great pictures” but to create pictures that about their growing nation Native American ceremonies. of California, easterners portray the great size and during the period of west- would pay money to splendor of the American ward expansion until the end Thomas Moran see them. landscape. of the nineteenth century. It Thomas Moran was an Catlin, Moran, and introduces students to some eastern artist who enjoyed Winslow Homer Bierstadt were artist/explor- basic principles of landscape going on geological In 1893, Winslow Homer left ers who were lured west by painting and has them prac- expeditions, although he his busy life in New York the raw power of unexplored tice geography skills to gain was not the rugged type. and built a studio in an old rivers, mountains, and appreciation for the physical He joined an expedition to stable on the high shore of canyons. They joined geolog- characteristics of different the remote headwaters of Prout’s Neck in Maine, only ical and surveying expedi- regions of the United the Yellowstone River in a few hundred feet from the tions into our nation’s then- States. All of the paintings Wyoming and, two years ocean. He loved walking on unexplored territories, mak- discussed in this issue later, went to the Grand the cliffs during fierce storms ing a visual record of the are in the collections of the Canyon, which he sketched to study the way the surf did land with their paintings. Smithsonian’s National many times from an overlook battle with the rocks. On Homer, on the other hand, Museum of American Art. called “Powell’s Plateau.” more pleasant days, he had preferred the East; his pas- When he returned to his little interest in the water. sion was the rocky Atlantic studio in the East, he When the ocean was calm, combined ideas from his he thought it looked like small sketches to produce “a duck pond.” enormous paintings. By then he had established a fine reputation as an artist, and his glorious watercolors of Yellowstone had encouraged Congress in 1872 to designate it as the nation’s first national park. 4 Art to Zoo Landscape Painting: Artists Who Love the Land March/April 1996 LESSON PLAN Step 1 VIEWS OF THE AMERICAN Procedure West.
Recommended publications
  • Landscape Appurtenant to Residential, Commercial, Industrial, and Institutional Development; And

    Landscape Appurtenant to Residential, Commercial, Industrial, and Institutional Development; And

    RESOLUTION NO. 2007- 116 A RESOLUTION OF THE CITY COUNCIL OF THE CITY OF THOUSAND OAKS ADOPTING REVISED GUIDELINES AND STANDARDS FOR LANDSCAPE PLANTING AND IRRIGATION PLANS AND RESCINDING RESOLUTION NO. 93- 74 WHEREAS, the City of Thousand Oaks seeks to improve the physical, social, economic and aesthetic environment by proper design and construction of landscape appurtenant to residential, commercial, industrial, and institutional development; and WHEREAS, landscaping, to be fully appropriate, effective, and have long- term viability, must be designed into the project from the beginning of the design effort; and WHEREAS, appropriate designed landscaping contributes to the beauty and well- being in the City and said landscaping ( xeriscape) should be designed with the need to conserve water within the community; and NOW, THEREFORE, the City Council of the City of Thousand Oaks does resolve as follows: 1. Council Resolution No. 93- 74 IS hereby rescinded and superseded by this resolution. 2. The attached " Guidelines and Standards for Landscape Planting and Irrigation Plans" (Attachment A) are hereby adopted. 3. All new and remodeled developments which require a development permit, major modification, or other entitlement pursuant to Title 9 of the Municipal Code, shall be landscaped to include planting, irrigation system and maintenance of said landscaping improvements in accordance with the attached Guidelines and Standards for Landscape Planting and Irrigation Plans". ATTEST: U~ Linda D. Lawrence, City Clerk r CDD:460- 20/ I./ cdd/ council/ ceres 2007/ MCA 2006- 70478 city Res. No. 2007- 116 Page 1 APPROVED AS TO FORM: Office of City Attorney omeY CERTIFICATION STATE OF CALIFORNIA ) COUNTY OF VENTURA ) SS.
  • Landscape Painting

    Landscape Painting

    Landscape Painting Kate Sandilands Joyce Nelson, Sign Crimes/Road Kill: From Mediascape to Landscape (Toronto, Between the Lines 1992). Andrew Wilson, The Culture of Nature: North American Landscape from Disney to the Exxon Valdez (Toronto, Between the Lines 1991). As Raymond Williams wrote some time ago, "the idea of nature contains, though often unnoticed, an extraordinary amount of human history."'At the same time as the idea marks a series of radically different, and historically changing, usages, relations and meanings, it has also come to represent some basic quality, some underlying continuity that differentiates the epiphenomenal from the essential in humanity's vision of itself and the world. Thus, the movement between the "nature" of something and the something called "nature" shows a social order in the throes of self-definition: the tension between the production of an "essence," a sense of a historical trajectory, and the synchronic proliferation of plural meanings, in the working-out of "nature." Joyce Nelson and Andrew Wilson both capture this tension well; each shows the constitution of nature through the multiple, conflicting, and often destructive dis- courses of modernity and postrnodemity. Indeed, they both go a long way toward showing just how much human history is contained in the idea of "nature." In an era marked by "ecological crisis," such investigations would seem crucial indeed. But these books are not panic texts, not works of social inquiry parroting the voices of "hard" science on environmental apocalypse. They are, instead, works which show the tensions and contradictionsof North Americans's relations to "nature," something that all too many contemporary writings of an environmentalistvein overlook in their singular condemnation of the more destructive elements of western social life.
  • Landscape Approach in Addressing Land Use and Tenure Arrangements Among Pastoral Commnities in Eastern Africa: the Case of Tanzania

    Landscape Approach in Addressing Land Use and Tenure Arrangements Among Pastoral Commnities in Eastern Africa: the Case of Tanzania

    LANDSCAPE APPROACH IN ADDRESSING LAND USE AND TENURE ARRANGEMENTS AMONG PASTORAL COMMNITIES IN EASTERN AFRICA: THE CASE OF TANZANIA Working paper STEPHEN NINDI (1), FIONA FLINTAN (2), DEUS KALENZI (2), VICTOR MWITA (3), ISAACK LUAMBANO (2) Paper prepared for presentation at the “2018 WORLD BANK CONFERENCE ON LAND AND POVERTY” The World Bank - Washington DC, March 25-29, 2019 Copyright 2019 by author(s). All rights reserved. Readers may make verbatim copies of this document for non-commercial purposes by any means, provided that this copyright notice appears on all such copies. Abstract Land use and tenure related conflicts are not new in Tanzania including between farmers and livestock herders. Conflicts are increasingly becoming common places as human and animal population heightens, urbanization grows and increases in other land uses such as agriculture, mining, infrastructure development and other emerging uses. Pastoralists are used to their mobility to ensure sustainable availability of pasture, water and minerals and maintenance of gene diversity. Nonetheless, economic and human development processes have tremendously reduced land available for pastoral mobility resulting in increasing challenges over access to resources and land. For decades conventional village spatial planning has further restricted pastoral movement within village jurisdiction boundaries. Recently, spatial planners have embarked on developing Joint Village Land Use Plans and Agreements to enable more space and diversity for pastoral mobility, protecting shared grazing areas across village boundaries as part of this. As part of a wider and an integrated approach that looks at the challenge in its holistic and integral manner, there is opportunity for reconciling different land uses in the landscape and improving mutual benefits.
  • Eighteenth-Century English and French Landscape Painting

    Eighteenth-Century English and French Landscape Painting

    University of Louisville ThinkIR: The University of Louisville's Institutional Repository Electronic Theses and Dissertations 12-2018 Common ground, diverging paths: eighteenth-century English and French landscape painting. Jessica Robins Schumacher University of Louisville Follow this and additional works at: https://ir.library.louisville.edu/etd Part of the Other History of Art, Architecture, and Archaeology Commons Recommended Citation Schumacher, Jessica Robins, "Common ground, diverging paths: eighteenth-century English and French landscape painting." (2018). Electronic Theses and Dissertations. Paper 3111. https://doi.org/10.18297/etd/3111 This Master's Thesis is brought to you for free and open access by ThinkIR: The University of Louisville's Institutional Repository. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of ThinkIR: The University of Louisville's Institutional Repository. This title appears here courtesy of the author, who has retained all other copyrights. For more information, please contact [email protected]. COMMON GROUND, DIVERGING PATHS: EIGHTEENTH-CENTURY ENGLISH AND FRENCH LANDSCAPE PAINTING By Jessica Robins Schumacher B.A. cum laude, Vanderbilt University, 1977 J.D magna cum laude, Brandeis School of Law, University of Louisville, 1986 A Thesis Submitted to the Faculty of the College of Arts and Sciences of the University of Louisville in Partial Fulfillment of the Requirements for the Degree of Master of Arts in Art (C) and Art History Hite Art Department University of Louisville Louisville, Kentucky December 2018 Copyright 2018 by Jessica Robins Schumacher All rights reserved COMMON GROUND, DIVERGENT PATHS: EIGHTEENTH-CENTURY ENGLISH AND FRENCH LANDSCAPE PAINTING By Jessica Robins Schumacher B.A.
  • The Hudson River School

    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.
  • 1 the Alps, Richard Strauss's Alpine Symphony and Environmentalism

    1 the Alps, Richard Strauss's Alpine Symphony and Environmentalism

    Note: This is an expanded version of an article appearing in the journal Green Letters (2011); it is intended for a literary rather than musical readership, and the punctuation and spellings are British. The Alps, Richard Strauss’s Alpine Symphony and Environmentalism By Brooks Toliver Introduction After love and death, nature may well be European music’s preferred theme; it figures significantly in troubadour cansos, pastoral madrigals and operas, tone poems, impressionistic preludes, and elsewhere. In light of this it is puzzling how seldom actual nature is invoked in musical discourse. Composers—Richard Strauss among them—have been known to seek out nature in the manner of landscape painters, but there is no similar tradition among the critics, who ground nature-music and their judgments of it not in nature but in other music and criticism. When confronted with the vivid imagery of Strauss’s Alpine Symphony (1915), contemporaries wrote primarily of the aesthetics of vivid imagery, relegating the images themselves to the level of anecdote. Musicologists are quite adept at exploring the relationship of works to cultural constructions of nature, but relatively few have brought real environments into the discussion of canonical music. There has as yet been no serious consideration of how the Alps might be critical to an appreciation of the Alpine Symphony, nor has anyone theorized what the consequences of the Alpine Symphony might be for the Alps. Surely it is worth asking whether it metaphorically embodies sustaining or destructive relationships to the environment it represents, if it respects or disrespects nonhuman nature, and if love of nature is contingent on a symbolic domination of it, to name just three questions.
  • MF-Romanticism .Pdf

    MF-Romanticism .Pdf

    Europe and America, 1800 to 1870 1 Napoleonic Europe 1800-1815 2 3 Goals • Discuss Romanticism as an artistic style. Name some of its frequently occurring subject matter as well as its stylistic qualities. • Compare and contrast Neoclassicism and Romanticism. • Examine reasons for the broad range of subject matter, from portraits and landscape to mythology and history. • Discuss initial reaction by artists and the public to the new art medium known as photography 4 30.1 From Neoclassicism to Romanticism • Understand the philosophical and stylistic differences between Neoclassicism and Romanticism. • Examine the growing interest in the exotic, the erotic, the landscape, and fictional narrative as subject matter. • Understand the mixture of classical form and Romantic themes, and the debates about the nature of art in the 19th century. • Identify artists and architects of the period and their works. 5 Neoclassicism in Napoleonic France • Understand reasons why Neoclassicism remained the preferred style during the Napoleonic period • Recall Neoclassical artists of the Napoleonic period and how they served the Empire 6 Figure 30-2 JACQUES-LOUIS DAVID, Coronation of Napoleon, 1805–1808. Oil on canvas, 20’ 4 1/2” x 32’ 1 3/4”. Louvre, Paris. 7 Figure 29-23 JACQUES-LOUIS DAVID, Oath of the Horatii, 1784. Oil on canvas, approx. 10’ 10” x 13’ 11”. Louvre, Paris. 8 Figure 30-3 PIERRE VIGNON, La Madeleine, Paris, France, 1807–1842. 9 Figure 30-4 ANTONIO CANOVA, Pauline Borghese as Venus, 1808. Marble, 6’ 7” long. Galleria Borghese, Rome. 10 Foreshadowing Romanticism • Notice how David’s students retained Neoclassical features in their paintings • Realize that some of David’s students began to include subject matter and stylistic features that foreshadowed Romanticism 11 Figure 30-5 ANTOINE-JEAN GROS, Napoleon at the Pesthouse at Jaffa, 1804.
  • Hewitt Gallery of Art Catalogues: Psychogeography

    Hewitt Gallery of Art Catalogues: Psychogeography

    psychogeographyartists’ responses to place [and displacement] in real and imagined spaces april 1 - may 1, 2019 gallery director’s statement Frederick Brosen Psychogeography explores artists’ responses to place [and displacement] in real and imagined spaces. From the psychic Ben paljor chatag to the specific, from recollection to recording, the works in this exhibit recreate the power of place in the human jeFF chien-hsing liao imagination. The nine artists in this group exhibition have traversed the dahlia elsayed globe, from the North Pole to Alexandria, Egypt, from Tibet to Italy, and from Flatbush to Central Park. Some travel in ellie ga the imaginative realms, others may never leave the studio. This exhibit takes inspiration from the notion of dérive or kellyanne hanrahan “drifting,” a word coined by French Marxist philosopher, Guy Debord, one of the founders of the Situationists International emily hass movement. Hallie Cohen | Director of the Hewitt Gallery of Art matthew jensen “One can travel this world and see nothing. To achieve sarah olson understanding it is necessary not to see many things, but to look hard at what you do see.” curated By hallie cohen - Giorgio Morandi aBout the artists Frederick Brosen’s exquisite, highly detailed watercolors capture the light, the architecture, and the aura of a New York City street or a Florentine strada, while Ben paljor chatag’s watercolors deal with “inner qualities” he discovered in Tibet before emigrating to the United States. Taiwanese-born jeFF chien-hsing liao’s large- scale black and white photographs of the iconic Central Park are based on the Chinese lunar calendar and call to mind the vertical format and multiple perspectives of traditional Chinese landscape painting.
  • The Landscape Architecture Data Model

    The Landscape Architecture Data Model

    The Landscape Architecture Data Model A Case Study in GIS Data Modeling Andrew Holguin LDA Senior Project - Spring 2009 University of California, Davis The Landscape Architecture Data Model: A Case Study in GIS Data Modeling A Senior Project Presented to the faculty of the program of Landscape Architecture at the University of California, Davis in partial fulfillment of the requirements for the degree of Bachelors of Science of Landscape Architecture. Presented by: Andrew Jason Holguin at University of California, Davis on the twelfth day of June, 2008 Acceptance and Approval by: ___________________________________ Steve McNeil, Faculty Advisor ___________________________________ Keir Keightley, Committee Member ___________________________________ James Thorne, Committee Member ___________________________________ Mark Francis, Senior Project Advisor Abstract The primary objective of this project is to develop a geodatabase that can be used by undergraduate landscape architecture students in the site analysis phase of a design or planning project. As part of this process, useful datasets are discussed, and basic GIS concepts are explained. The spatial extent of the database covers Yolo County, and the relevant map scale for analysis and map production is 1:24,000 or less. The database consists entirely of publically available data that can be obtained online from a variety of sources. The organization of the database is also described and sample map products are displayed. Finally, a simple analysis is performed to demonstrate how the data
  • Lackawanna Valley

    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.
  • Envisioning Present and Future Land-Use Change Under Varying Ecological Regimes and Their Influence on Landscape Stability

    Envisioning Present and Future Land-Use Change Under Varying Ecological Regimes and Their Influence on Landscape Stability

    sustainability Commentary Envisioning Present and Future Land-Use Change under Varying Ecological Regimes and Their Influence on Landscape Stability Marcela Prokopová 1, Luca Salvati 1,2,*, Gianluca Egidi 3, OndˇrejCudlín 1, Renata Vˇceláková 1, Radek Plch 1 and Pavel Cudlín 1 1 Global Change Research Institute, Czech Academy of Sciences, Lipová 9, CZ-37005 Ceskˇ é Budˇejovice,Czech Republic 2 Council for Agricultural Research and Economics (CREA), Viale S. Margherita 80, I-52100 Arezzo, Italy 3 Department of Agricultural and Forestry Sciences (DAFNE), Tuscia University, Via San Camillo de Lellis, I-01100 Viterbo, Italy * Correspondence: [email protected] Received: 30 July 2019; Accepted: 22 August 2019; Published: 27 August 2019 Abstract: Climate change plays an important role in shaping ecological stability of landscape systems. Increasing weather fluctuations such as droughts threaten the ecological stability of natural and anthropogenic landscapes. Uncertainty exists regarding the validity of traditional landscape assessment schemes under climate change. This commentary debates the main factors that threaten ecological stability, discussing basic approaches to interpret landscape functioning. To address this pivotal issue, the intimate linkage between ecological stability and landscape diversity is explored, considering different approaches to landscape stability assessment. The impact of land-use changes on landscape stability is finally discussed. Assessment methodologies and indicators are reviewed and grouped into homogeneous classes based on a specific nomenclature of stability aspects which include landscape composition, fragmentation and connectivity, thermodynamic and functional issues, biodiversity, soil degradation, and ecological disturbance. By considering land-use change as one of the most important factors underlying climate change, individual components of landscape stability are finally delineated and commented upon.
  • Historical Painting Techniques, Materials, and Studio Practice

    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.