Landscape Drawings Research Articles

Hayden's Landscapes Revisited: The Drawings of the Great Colorado Survey

Hayden's Landscapes Revisited: The Drawings of the Great Colorado Survey

ХУДОЖЕСТВЕННЫЙ ТЕКСТ КАК ВЫСКАЗЫВАНИЕ (НА МАТЕРИАЛЕ ПОВЕСТИ А. П. ЧЕХОВА «ПАЛАТА № 6»)

In our study, the most famous story of Anton Pavlovich Chekhov, who is known as the world-famous Russian and short story writer and is among the greatest writers in history, “Ward No. 6” is handled. In our article, the methodology of literary text analysis is explained, taking into account the internal dynamics of the construction of expressions and their inclusion in the chain of communication in the application of interactive teaching of the Russian language to Turkish students in a foreign language. Anton Pavlovich Chekhov's story "Ward No. 6" is accepted as a message that the reader is expected to respond to in the form of a call, criticism, evaluation, and sympathy. In our study, three types of expressions covering the text were used. These are the monologue author's speech, the indirect speech of the characters, and the dialogical speech. the author reveals the individuality of the topic of speech, his own style, worldview, the peripeteia of the plot of the works, with the author's speech, the different forms of expression of the characters' speech. In addition, in our study, through the role of landscape drawings, the year, the month, the day, the hour, the weather, as well as an action scene, are analyzed as a marker as well as the peripeteia of the plot of the work and an indicator of the emotional state of the characters. The subject of our study is the types of expressions in the story text as a communication tool between the characters, the author and the reader. In our study, as a part of the interactive teaching of Russian, the text analysis of Anton Pavlovich Chekhov's story "Ward No. 6" conducted with Turkish students, taking into account all the difficulties of understanding a foreign language text, the strategy of reading and understanding Russian literary texts, the speech tools used as a complex expression and it was concluded that each reader should find his own individual answer.

“Useful Knowledge” in Charles-Alexandre Lesueur’s visual and textual accounts of Missouri in 1826

Artist and naturalist Charles-Alexandre Lesueur (1778-1846) valued his work as useful to science generally and to France in particular, including during the time he lived and traveled in North America from 1816 to 1837. Starting with Daniela Bleichmar’s concept of “visual epistemology: a way of knowing based on visuality, encompassing both observation and representation,” this essay claims that Lesueur’s art and scientific practice adhered closely to a belief in the authority of art from direct observation in nature, and they served different professional, educational, community, and potentially commercial purposes. It charts the conditions under which he produced the art, the purpose(s) of the art, the types of art (sketches, paintings, prints, landscape drawings), and the intended audience through four types of subjects from the expedition to Missouri in 1826: the challenges of scientific fieldwork, Blacks in Missouri, lead mining, and inland but especially riverside towns.

‘HUMBOLDTIAN SCIENCE’ AND BEYOND. THE HUMBOLDTIAN WAY OF SEEING AND KNOWING IN VIENNA AND IN FRANZ UNGER’S AND FRIEDRICH SIMONY’S EARTH SCIENCES

ABSTRACT This contribution builds on the notion of ‘Humboldtian Science’, coined by the American historian of science Susan F. Cannon who, in her book Science in Culture: The Early Victorian Period (1978), identifed a constellation of practices, strategies and ideas as typical of the research style of British naturalists during the nineteenth century. Cannon’s explanatory model has been widely accepted and for many different reasons. It became attractive as it seemed to break the deadlock of the ambivalence between idealism and empiricism, leading beyond the narrow perspective of academic disciplines. At the same time, it focused on practices and has become a useful tool to analyze the seemingly everyday activities of naturalists in the field. This contribution discusses the potential of this concept at different levels and will also show its limits; insofar as it runs the risk of idealizing Humboldt as an already epigonal figure. It will also analyze Humboldt’s connections to Vienna and his influences on natural sciences by focusing on two examples from the earth sciences, the contributions of the palaeontologist and biologist Franz Unger and the geologist and geographer Friedrich Simony. In so doing, it will widen understanding of the impact of Humboldt’s work in Vienna, detecting not only ‘Humboldtian Science’ but also the Humboldtian way of seeing and knowing where it is not expected: in Unger’s Atlantis theory, his visualization of origins of cultivated plants, and his visualization of deep time, as well as Friedrich Simony’s concept of scientific landscape drawings.

‘Nature Is Something We Can’t Replace’: Mexican Students’ Views of the Landscape They Want to Conserve

The primary aim of this qualitative study was to identify the landscapes that 7−12-year old Mexican students (n = 440) would like to conserve by analysing their drawings. Another aim was to determine the environmental relationship and environmental values of 5th and 6th graders (n = 152) by studying their texts. The data were analysed using mixed methods. In this study, landscape is understood as a visual experience of the environment, comprising the visible features of an area. Based on the results, all of the three main landscapes—nature, social and built—were deemed worth conserving. Beyond students’ immediate environment, the polar regions, North America, Australia and Africa were mentioned; Europe and Asia were not. The landscape drawings were realistic and carefully made, and the descriptions attached to them were clearly written. The environmental approach was mainly humanistic, and aesthetic values were appreciated by both genders. Utilitarian values were mentioned more often by boys than girls. The students’ descriptions reflected their environmental relationship, e.g., concern about nature, showing causal relationships, appreciation and affection. Concern or worry was often accompanied by the mention of human’s responsibility in the students’ texts, but they seldom considered their own activities in relation to the environment. The students depicted threats to nature, but they externalized themselves from the mechanisms threatening nature. In addition, they did not show familiarity with natural processes and scientific terminology. The study reveals that it is not only theoretically important to have distinct values, but these also need to be recognized by individuals. If the humans’ pro-environmental actions are to be promoted through education, it is important to study students’ values, as they may be important barriers to behavioral change. As students showed concern about preserving nature, teachers can discuss environmental values and different ways to take action and make changes with them, in order to avoid anxiety.

조경 설계에서 디지털 드로잉의 기능과 역할†

This work discusses the major roles of digital technologies in the history of landscape architectural drawing, and offers a critique of the dominant trend towards realism in recent digital landscape representations. During the period of transition from conventional drawing tools, computer technologies generally functioned as mechanical tools to imitate prior manual techniques. Specifically, the GIS was served as a mechanical tool to efficiently process the manual layer cake; CAD software generally functioned to translate physical models to two-dimensional construction documents while graphic software generally functioned as a tool to perform processes similar to those of manual collage and montage techniques. Recent digital landscape drawings tend to adopt a realistic depiction like the painting of landscape appearance. In the representations, discernible traces of cutting and assembling are removed via graphic software; thus, the complete representations are perceived as if they were a copy of an actual landscape. The realistic images are an easy way to communicate with the public. However, it is difficult to achieve a full embodiment of all of the multisensory characteristics of a landscape through these visuals. They often deceive viewers by visualizing idealized conditions of not-yet-actualized landscapes and production of the final images takes up a large portion of the overall design process. Alternatively, 3D digital modeling of landscape performance and creative uses of digital technologies during the overall design process, as well as hybridized techniques with different drawing techniques and technologies, provide the opportunity to explore various aspects of a landscape.

Edgar Degas: drawings and pastels

Edgar Degas (1834-1917) was one of the outstanding draughtsmen of the 19th century and drawing was not only a central tenet of his art but also essential to his existence. Through an examination of the artists drawings and pastels, Christopher Lloyd reveals the development of Degas' style as well the story of his life, including his complicated relationship with the Impressionists. Following a broadly chronological approach, the author discusses the various subject areas, not only the images of dancers (which form over half of Degas' total oeuvre) but also of nudes and milliners, and the less well-known racehorse and landscape drawings. He covers his whole career, from when Degas was copying the Old Masters to learn his craft to when he ceased work in 1912 because of failing eyesight, setting him within the artistic context of the period. Lloyd's extensive research, which includes consulting the artists detailed notebooks, has resulted in a comprehensive exposition with, at its heart, some 250 pencil, black-chalk, pen-and-ink, and charcoal drawings and pastels of timeless appeal.

Holistic Versus Analytic Expressions in Artworks

Previous research has documented systematic cultural variations in adults’ cognitive processes. In particular, research on culture and aesthetics suggests that East Asian adults’ aesthetic expression tends to be holistic and context-oriented, whereas North American adults’ aesthetic expression tends to be analytic and object-oriented (Masuda, Gonzalez, Kwan, & Nisbett, 2008). However, research focusing specifically on the developmental processes of such cultural differences in children’s artworks is lacking, with the notable exception of an empirical study conducted by Rübeling et al. (2011). Our current research examined whether school-age children in Grades 1 through 6 exhibit these culturally unique patterns of expression, and if so, when. Children were asked to produce either landscape drawings (Study 1, n = 495) or landscape collages using ready-made items (Study 2, n = 376). The results indicated that children in both cultures gradually develop expressions unique to each culture. Although Grade 1 children’s artworks were still similar across cultures, artworks in Grade 2 and higher showed substantial cultural variations. Japanese children were more likely than their Canadian counterparts to place the horizon higher in the visual space and to include more pieces of information. The higher placement of the horizon is linked to the context-oriented visual attention style seen in adults’ drawings and historical paintings in East Asian cultures, as opposed to object-focused drawing styles commonly seen in North American cultures. We also report culturally similar patterns in the developmental trajectory and discuss the internalization process of culturally dominant patterns of perception.

‘By cruel foes oppress'd’: British naval draughtsmen in Tahiti and the South Pacific in the 1840s

This paper considers little-known imagery made by mid-nineteenth century naval officers travelling in the Pacific, which has often been overlooked by art historians. In particular, it examines landscape drawings and prints made by officers travelling on a sequence of voyages through Polynesia, and argues that these need to be understood within the specific context of Anglo-French imperial rivalry in the region focused on the French annexation of Tahiti in the early 1840s. Rather than being simply a transparent set of tourist souvenirs, the views produced by the British officers were self-consciously reiterative, both of each other and also of a genre of exploration imagery deriving from James Cook's seminal Pacific voyages of 1768–1780. As such, they perpetuate and naturalize an image of the islands as tied to a positivist and teleological account of British imperial history, in which the French presence on Tahiti is presented as invasive, aberrant and despotic. Taking these drawings and prints as a case study, it concludes that the mass of similar imagery lying ignored in local and national archives needs to be reviewed as meriting serious art-historical scrutiny.

Animals in the landscape drawings of Finnish and Russian young people – in the landscape they want to conserve

This research was carried out in connection with “The Finnish-Russian Country School Project”. The aim is to compare Finnish and Russian pupils’ values in their drawings of the landscape (n=946) they want to conserve, and to pay attention to the animals they draw. The pupils were 7–15 years old. The landscapes were classified by the variables (country, age, sex), and analysed according to landscape type. The most prevailing landscape was nature (82%). The existence of animals was few in species; but there were more animals in the Russian drawings. The most frequently drawn groups were the“wave birds” and mammals. The Russians often presented the forest animals whereas the Finns drew the domestic species. With increasing age, the frequency of the animals decreased clearly in the Russian landscapes. A similar age distribution was not seen in the Finnish drawings. In conclusion, the animals were well placed in their ecological environment, indicating children’s good understanding of the natural habitat they were drawing.

조경시설물 전산 도면의 레이어 표준화 방안

As most landscape drawings tend to be recorded in electronic format, the need for layer standards is growing. While the categorization system of planting drawings has been progressing, landscape facility drawings are being delayed. So, the purpose of this study was to establish the categorization system of computerized landscape facility drawing documents. In the beginning of this study, it found that the layer categorization system of Standards of Construction CALS/EC computerized drawings v1. 1 and submit instructions of electronic design documents are not suitable for the landscape facility drawings. 1,154 drawings drawn by 10 landscape architect offices were used to analyze the current layer categorization status. As a result, it found that Standards of Construction CALS/EC computerized drawings v1. 1 were not introduced in landscape facility drawings and 46% of layers were produced indefinitely. The new layer categorization system consisting of 15 facility items was drawn by applying the ISO construction information categorization system. The new layer categorization system is set on the basis of the legal code, landscape design standards, and design guidelines of public institutions. This new layer categorization system is expected to propagate at the landscape architect offices in the early.

Review: The Art and Craft of Greene & Greene

The Art and Craft of Greene & Greene ; Huntington Library, Art Collections, and Botanical Gardens, San Marino, California; 18 October 2008––26 January 2009; Renwick Gallery of the Smithsonian American Art Museum, Washington, D.C.; 13 March––7 June 2009; Museum of Fine Arts, Boston; 14 July––18 October 2009 The reputation of the Greene brothers (Charles Sumner, 1868––1957, and Henry Mather, 1870––1954) rides very high among American architectural historians and Arts and Crafts enthusiasts, but with the larger public, even those interested in the visual arts, a general ignorance reigns. The furniture of the Greenes played a role in several of the major Arts and Crafts exhibits of the 1970s and '80s, but their work as a totality can only be seen in one building open to the public (the Gamble House, Pasadena, California), at several removes through the numerous books devoted to them, and a stray piece of furniture in a museum's collection. This exhibition was an attempt to develop a larger public awareness of their work. Composed of more than 120 objects (which varied depending on venue), a number of photographs, and several videos of the architecture and furniture, The Art and Craft of Greene & Greene was curated by the Gamble House's director, Edward R. Bosley, and its curator, Anne Mallek (Figure 1). Shown were student, working, detail, and landscape drawings; books, furniture, watercolors, lamps, windows, stained glass, metalwork, and other objects. The differences between the two brothers and their roles, with Charles (the eldest and the more creative) usually the design …

West, Copley, and the Camera Obscura

The camera obscura projects the reflection of a landscape or object onto a flat surface from which it can be traced or studied. Although the camera obscura was a popular instrument for viewing nature during the late eighteenth century, little documentation of its use by individual artists exists. Two notable exceptions to this silence on the subject of the camera are found in eighteenth‐ and early nineteenth‐century written comments about or by American artists Benjamin West and John Singleton Copley. West described his use of the camera through his biography by Scottish writer John Galt, and examination of a group of his landscape drawings suggests he used the camera for tracing. In a letter to his brother, Copley advised the use of the camera for the study of light, shade, and color, evidence of which may be seen in his painting The Ascension of 1774. A close look at West's and Copley's use of the camera obscura allows us to more closely examine artistic practices of the late eighteenth century and reveals how varied and pervasive use of the camera really was, both for linear depictions and for the rendering of color and shadow.

Jean Pillement at the Imperial Court of Maria Theresa and Francis I in Vienna (1763 to 1765)

Jean Pillement (1728-1808) after an extended stay in England during which he proved his creative talents as a young man in a variety of media, accepted in 1763 the invitation of the Austrian Court of Maria Theresa and Francis I to come to Vienna and work on a number of projects. In the short period of two years, he produced there a prodigious quantity of works including monochrome blue pastel decorative landscapes and seascapes for the Blue Palace of Laxenburg, chinoiserie frescoes for the Palace of Niederweiden, theatrical costumes, landscape drawings and important oils, altogether a typical Pillement mixture full of exuberance, charm, colour and originality.

Overlooking the visual

It is widely acknowledged in literature on design theory and confirmed as part of the research project ‘Cognitive abilities and the art of design’ that in order to design, not only is it necessary to be visually aware, but also that visual thinking is an important part of the design process. But do we know why? One of the findings of the research project is that what visual awareness or visual thinking entails is far from clear. How these concepts relate to each other and to similar notions such as visual literacy, the visual language or visual skill, visualisation or imaging remains ambiguous. What is clear is that whenever ’the visual’ is referred to in design theory, what is being invoked in one way or another is a mode of thinking closely associated with creativity, subjectivity and intuition. A metaphysical concept, this is deeply problematic educationally. How students might be taught any skills associated with the visual, or indeed, whether or not it is possible to teach anything visual is debatable. The thesis of this paper is that difficulties surrounding the concept are philosophical, rather than psychological or cognitive. After introducing the main concerns of pragmatism, the paper considers various interconnected and related interpretations of the visual. It outlines problems these interpretations cause in the design studio and explores the philosophical foundations of the concept. To clarify its role in design, the paper offers an alternative analysis of the visual from a pragmatic perspective. Shifting paradigms to dispense with the need to rely on the notion of different modes of thinking, provides a basis not only to give a definition of visual skill which has a clear educational rationale, but also to make explicit the role of visual skill in the design process and to throw light on the apparently elusive connection between design theory and practice. The overall ambition of this research is to make it easier to teach and develop artistic sensibility in design. This paper is based on a conference paper presented at the ECLAS (European Conference of Landscape Architecture Schools) conference in Berlin in September 1999. It emerges from the research project ’Cognitive abilities and the art of design’ funded by the Leverhulme Trust, an investigation of the philosophy and practice of design education within landscape architecture. This involved interviewing eminent practitioners and educators in landscape architecture, both in the United States and Europe, analysis of questionnaires undertaken by students of landscape architecture and drawings undertaken by children and students from a range of disciplines. It draws on several years’ experience teaching landscape design studios at undergraduate and postgraduate level. (A book developing this research is to be published shortly by Routledge.)

Exhibitions/Catalogues

The Art BookVolume 7, Issue 1 p. 20-26 Exhibitions/Catalogues First published: 22 December 2003 https://doi.org/10.1111/1467-8357.00175AboutPDF ToolsRequest permissionExport citationAdd to favoritesTrack citation ShareShare Give accessShare full text accessShare full-text accessPlease review our Terms and Conditions of Use and check box below to share full-text version of article.I have read and accept the Wiley Online Library Terms and Conditions of UseShareable LinkUse the link below to share a full-text version of this article with your friends and colleagues. Learn more.Copy URL Share a linkShare onFacebookTwitterLinked InRedditWechat Abstract Books reviewed: Alan Chong and Wouter Kloek Still-Life Painting from the Netherlands 1550–1720 Judith A Barter (ed) Mary Cassatt: Modern Woman Nancy Mowll Mathews Mary Cassatt: A Life Martin Royalton-Kisch The Light of Nature: Landscape Drawings by Van Dyck and his Contemporaries Tobia Bezzola and Cornelia Homburg (eds) Max Beckman and Paris: Matisse, Picasso, Braque, Leger, Rouault Janina Ladnowska et al Katarzyna Kobro 1898–1951 Volume7, Issue1January 2000Pages 20-26 RelatedInformation

The pencil landscape drawings made by Ferdinand Bauer in Norfolk Island, from August 1804 to February 1805 in The Natural History Museum, London

The pencil landscape drawings made by Ferdinand Bauer in Norfolk Island, from August 1804 to February 1805 in The Natural History Museum, London

Esaias van de Velde's technical innovations: translating a graphic tradition into paint

Esaias van de Velde was central to the remarkable development of naturalistic landscape in the drawings and prints of a few artists working in Haarlem and Amsterdam around 1610. Through shared artistic conventions these artists created selfconsciously unadorned images. They abandoned engraving in favour of etching, and used a graphic vocabulary derived from Pieter Bruegel's landscape drawings. This specific set of techniques conveyed a startling immediacy that suggested direct observation of the local landscape. Like many Northern Netherlandish landscape painters, Esaias was trained in a Southern Netherlandish tradition that had not changed dramatically for a century. He is often credited with being the first to attempt naturalistic paintings, but these are usually seen as more conservative than his graphic works. Technical study of the paintings has revealed the innovations through which Esaias translated the graphic vocabulary of naturalistic landscape into paint. Dramatic simplification of the painting process gave his paintings the immediacy of the graphic works. He adapted features inherent in the painting process (such as the woodgrain and the underdrawing) into explicit quotations of etchings and the Bruegel drawing tradition. By transforming landscape painting technique Esaias laid the basis for a truly Dutch landscape painting tradition.

Low Cost, Computer-aided Landscape Design Using the Macintosh Computer

Computer-aided design (CAD) is rapidly becoming an indispensable tool for landscape architects and designers. This has created the need for a simple-to-use, inexpensive, and readily available configuration for introducing computer-aided design on a limited budget to landscape students. This introduction to computer-aided landscape design can be accomplished easily and accurately using the 512K Macintosh computer and the software package MacDraw. Techniques are reported for shading, layering, and customizing plant and groundcover symbols, allowing a personal touch that is lacking in some more-advanced CAD packages. Computer-generated pages can be collaged to make full-sized landscape drawings, which are then copied onto reproduction vellum. In this manner, the design capability is not limited by the size of the minter. This design configuration is currently in use and was used to generate the design and the symbol illustrated.

Shaker Village Views: Illustrated Maps and Landscape Drawings by Shaker Artists of the Nineteenth Century. Robert P. Emlen

<i>Shaker Village Views: Illustrated Maps and Landscape Drawings by Shaker Artists of the Nineteenth Century</i>. Robert P. Emlen