‘Artists work within a context. Landscape is very much a reflection of its historical context.’
The way that landscape is perceived throughout the artwork of artists shows its historical context. When artists work within a context it’s based on such things as their environment, historical background, social and cultural events. This is shown in their artwork as it expresses their own personal experiences over the years. Sydney is a very popular city that is filled with many artistic and cultural experiences. The historical changes that have occurred throughout Sydney have inspired artists such as the Australian artist Grace Cossington-Smith with her painting The Bridge in Curve, and the also an Australian artist, Tom Roberts with An Autumn Morning. These display the different events that were happening throughout the different periods of time which is displayed throughout colour and the way that the city has improved.
Tom Roberts was an Australian artist who travelled widely around Sydney areas to find ideas for his paintings such as historical, political and landscape. In the perio...
Through the three pieces, the landscapes reflect a painting style is more often associated with European Romantic art, however, unlike the others, the central piece showcases the sky painted with miniscule dots, a technique common within Indigenous art (Lingard 2014, 44). However, the fact that the sky is the only piece of the composition painted with this technique and is placed in the background while more European inspired art and images are placed in the foreground is potentially symbolic of the marginalisation of Indigenous people and their culture in contemporary Australian society. Within Bennett’s own life, he was brought up without his Aboriginal heritage ever being spoken of, describing it himself as “overwhelming Euro-Australian” (McLean 1996, 20). Thus, within his artworks, a dotted circle at the top of each composition includes black footprints facing away from the circle, which matches his personal experience of Indigenous culture being ‘left behind’ in contemporary Australian society. The artist lived in a time where he was connected to a variety of Indigenous experiences including his own as well as the servitude of his mother, and thus through the combination of these varying art techniques, Bennett evokes both discord and further represents the marginalisation of Indigenous culture
Contemporary art is the art that has been and continues to be created during our lifetimes, which can include and represent the Australian culture, politics and music as well as in art forms such as portrait and landscape. Contemporary art is defined as art that is current, offering a fresh perspective and point of view and often employing new techniques and new media. Current art means work by both emerging and also established artists. Rosalie Gascoigne and Imants Tillers are honoured for their contribution showing the Australian landscape in fresh, new and transformational way. Whilst both are similar in their use of text and original interpretation of our landscape they are vastly different in their approach and creating meaning for their
The National Picture gives a completely different idea to the original, now showing instead of the Indigenous Australians being a more prominent culture and population in Australia, it instead shows a more mixed culture but a majority of white Europeans, which is true in the time of the painting, being in the 1980’s. This shows the journey of diversity in Australia, for better or for worse is debatable as to get to where we are now took a long and unfortunate process for the Aboriginal culture which was mostly lost due to the many deaths caused due to many political
These assemblages of work mirrror a reflection of glimpses of landscape beauty, a particular solace found in the nature surrounding us during her time in the outback, elegance, simplicity and the lifestyle of the physical world around us. Gascoigne has an essential curiousity displayed in her work exploring the physical word that is captured in an essence of this rural home which brings evocate depictions, subject to the arrangement of these simple remnants that offer so much more. The assemblages focus us on viewing the universe from a unique turnpoint, compromising of corrugated iron, feathers, worn linoleum, weathered fence palings, wooden bottle crates, shells and dried plant matter. The art works offer a poetic expression that traces remnants around the world that individually hold meaning to their placement in the
Unlike Gordon Bennett, who grew up struggling from his Aboriginal heritage, Tony Albert, a founding member of Queensland's Indigenous art collective proppaNOW explores political, social and cultural issues that are relevant to Indigenous Australian in today’s society. Albert’s artistic practice has a range of media and applications producing 2D wall art, sculpture and installation based works. According to Albert, he began to see the ‘problematic representations of his identity’ (Art Monthly Australia, 2015, p.55) after discovering the work of contemporary Aboriginal artists Tracey Moffat and Gordon
This places the reader in recognisable landscape which is brought to life and to some extent made clearer to us by the use of powerful, though by no means overly literary adjectives. Machado is concerned with presenting a picture of the Spanish landscape which is both recognisable and powerful in evoking the simple joys which it represents. Furthermore, Machado relies on what Arthur Terry describes as an `interplay between reality and meditation' in his description of landscape. The existence of reality in the text is created by the use of geographical terms and the use of real names and places such as SOrai and the Duero, while the meditation is found in...
However, Moran sided with the “sublime” aspect of Romantic landscape in which he uses the properties of form and color to evocatively paint a landscape meant to push the limit of formal expression. Moran doesn’t use just these techniques of the “sublime” to make the painting overwhelming, but also combined it with the sheer size of the canvas. He utilizes his space very well to make his viewers feel like he did when he found the canyon. He involves an aesthetic attack on our senses as viewers. Moran uses all of these elements to make the viewers feel like they are actually at the canyon. He used other tactics like the expansive sunlit landscape of the valley below, the tiny people that are dwarfed by the enormity of the landscape around them, and the enormous shadowing of the plane in the foreground which is symbolic of the fleetingness of a storm passing overhead. There is a tree that looks to have had barely made it through a powerful storm. All of these elements are meant to communicate just how small humans are in the wake of the destructive elements and splendor of nature. Yellowstone painting signifies the sheer power of nature and what it can bring which Moran uses to his advantage to captivate the masses.
Robert Smithson is best known as a pioneer of the Earthworks movement. However his involvement in the development of Earthworks is only one of his many contributions to postwar American art. His most popular concepts he innovated was a “site,” which is a place in the world where art is inseparable from its context. In addition to large-scale land interventions, Smithson’s artistic practice also includes photography, painting, film, and language.
From the piece of artwork “Rain at the Auvers”. I can see roofs of houses that are tucked into a valley, trees hiding the town, black birds, clouds upon the horizon, hills, vegetation, a dark stormy sky and rain.
One can see Van Gogh’s emotional suffering and mental instability expressed through the tumultuous strokes of the dark night sky and the cypress associated with mourning. One can see Van Gogh’s hope and wonder through the simplicity of the lit villages and the hills.The result is a landscape made with curves and lines, the chaos in the night sky subverted by the formal arrangement of other
Pioch, N. (2002, Jul 16). WebMuseum: Pollock, Jackson. Retrieved 3 30, 2014, from Pollock, Jackson: http://www.ibiblio.org/wm/paint/auth/pollock/
Landscape paintings became of interest to artists as a way to depict nature, a man?s spiritual place in the world, and his relation to God (Pohl, 2012). The paintings of nature became a way for artists to express themselves visually and spiritually while also expanding what people could see, read, and feel (Pohl, 2012). Landscape paintings helped to grow communities and expand the western movement (Pohl, 2012). There was an issue between tearing down and using the resources of nature to build communities and to increase material wealth (Pohl, 2012).
Australia is a very unique place, along with our multiculturalism there is also a strong heritage surrounding us. At first thought of Australian heritage we think about such landmarks as Uluru, The Sydney harbour bridge and The Sydney opera house, The Great Barrier reef and other internationally recognised places. But our heritage goes much deeper than that; it is far more than outstanding icons. Along with these icons there are also unsung places like the old cattle stations, Aboriginal missions, migrant hostels, War memorials, our unique wetlands and the towns and cities we have built. Adding all of these things together, helps to tell the story of who we are and how we have shaped this land in the unique identity it has today.
With Cole, landscape painting took on a stature in America like that which history painting traditionally possessed in Europe. He was able to “transfer the heroic aims of history painters to the landscape category, where at ...
This chapter explores the idea of landscape in an anthropological construct. Hirsch aims to move away from the western ideals of understanding of landscape, and deconstruct it in an attempt to understand the local interoperation of landscape to prove it is part of a cultural process. Landscape has been used as a “standard framing device” (p1) by those looking from the outside in across anthropological history. Hirsch is looking to explore the landscape through the cultural understandings of the local people. (p1-5)