Landscape Drawings Research Articles

<sc>robert p. emlkn</sc>. <italic>Shaker Village Views: Illustrated Maps and Landscape Drawings by Shaker Artists of the Nineteenth Century</italic>. Hanover, N.H.: University Press of New England. 1987. Pp. ix, 198. $35.00

Journal Article robert p. emlkn. Shaker Village Views: Illustrated Maps and Landscape Drawings by Shaker Artists of the Nineteenth Century. Hanover, N.H.: University Press of New England. 1987. Pp. ix, 198. $35.00 Get access Emlkn Robert P.. Shaker Village Views: Illustrated Maps and Landscape Drawings by Shaker Artists of the Nineteenth Century. Hanover, N.H.: University Press of New England. 1987. Pp. ix, 198. $35.00. Stephen J. Stein Stephen J. Stein Indiana University Search for other works by this author on: Oxford Academic Google Scholar The American Historical Review, Volume 94, Issue 1, February 1989, Pages 216–217, https://doi.org/10.1086/ahr/94.1.216 Published: 01 February 1989

Reconstruction of the Landform of the Peaks of Mt. Kobandai and the Eruption of 1888 interpreted from Old Sketches

In geomorphological analysis, scholars generally have at their disposal geological date much more useful than pictorial records. Yet pictures are potentially rich sources of information about past visual representations of landforms.In this paper the author intends to encourage greater use of pictures. He used two kinds of pictures for the study of Mt. Kobandai, one of the Bandai-san Volcanoes, which erupted and vanished on 15th July 1888.One are skethes of the Bandai Volcano made during the 1888 eruption by local eyewitnesses. The author presents two newly-found sketches (Fig. 1, 2) as evidence of his “plural collapses hypothesis” (Yonechi 1987) of the 1888 eruption of the Bandai-san Volcano. During the past century, most scholarly articles were based on the assumption that a violent steam-blast eruption destroyed the peak of Kobandai just after the first eruption. However, the author's hypothesis claims that the disaster was composed of at least two collapses, large scale destruction in the first stage which occurred on the mountainside, and the gigantic collapse of the peak of Kobandai in the third stage following a lull (the second stage). His argument is based on the presentation of two photographs and two series of sketches, “Bandai-mura Ser. or Otomo Ser.” and “Kobayashi-printing Ser.” In this paper he presents two pieces of supplementary evidence, “Nitta drawing (Fig. 1)” and “Kobayashi-handwriting Ser. (Fig. 2)”.Another kind of picture is “shin-kei zu” (literally “real landscape drawings”) by painters. The author found some sketches depicting the shape of Mt. Kobandai before the 1888 eruption in this “shin-kei zu” technique. They are Koson Endo's sketch in “Shinyu-kiko zue” (Fig. 4) and Haku-un's in “Iwaki-kiko zukan” (Fig. 5).From these pictures and already-known pictures by Hokai Takashima (Fig. 6-8), the author made a 3-D model (Fig. 9). It shows that the vanished Mt. Kobandai had two peaks, and each of them had two small bulges.Mt. Kobandai as represented in the 3-D model has a rugged shape different from the photographs taken during the eruption, which show a smoothly-sloping profile. The author presumes that a part of Kobandai's peak collapsed during the first stage of the eruption at almost the same time as the mountainside collapse. He concludes that his hypothesis is supported on the whole and modifies it slightly to add a relatively small collapse of a part of Mt. Kobandai's peak in first stage of the eruption.

"THERE SEE INDUSTRY AND WEALTH COMBINED"

June Sprigg and David Larkin; Photographs by Michael Freeman. Shaker Life, Work, and Art. New York: Stewart, Tabori and Chang, 1987. 272 pp. Illus. Robert P. Emlen. Shaker Village Views: Illustrated Maps and Landscape Drawings by Shaker Artists of the Nineteenth Century. Hanover: University Press of New England, 1987. ix + 198 pp. Illus. The Shakers must be about the best-documented sect among the communal religious Utopians of nineteenth-century America. Certainly they left the greatest number of diverse artifacts, buildings and records. Books and articles exist on their communities, religious beliefs, buildings, work, food, art, songs, dress and on the manifold experiences of the Shakers themselves as they lived through millenarian, spiritualist and quietest phases of their movement. Much of this material has appeared since the publication in 1977 of Mary L. Richmond's two volume Shaker Literature: A Bibliography. These books are handsome additions to that literature which will continue to grow because of the museums now thriving at former and still active Shaker settlements in Sabbathday, Maine; Canterbury, New Hampshire; Hancock and Harvard, Massachusetts; Mount Lebanon and Old Chatham, New York; and Shakertown and Pleasant Hill, Kentucky. Both volumes are nicely designed and well printed on glossy paper which shows their illustrations to advantage. The text by Sprigg and Larkin provides an introduction to the Shakers and their world which is brief, clear and readable, although occasionally a bit repetitive. Those who have read much on Shakerism will find here little that is new save the approximately 200 color photographs by Michael Freeman and the five by others and used with their permission. These were mostly taken at the eight locations listed above, but a few are of objects and manuscripts elsewhere in private collections. These sunny pictures give a somewhat idealized view of their subjects, as they clarify the text and give substance, tone and beauty to the account of people who sought grace in clean designs, as well as in lives dedicated to their communities and to their God. They are also images with a wider relevance, since the Shakers shared objects, techniques and skills, standards and an appreciation for elegant and useful things with the nineteenth-century culture from which many were recruited and to which they all belonged. Freeman's pictures remind this New Englander of just how much the Shakers had in common with the craftsmen and farmers among whom they lived and whose material culture they shared even while refining it.

The fluviolagoonal palaeoenvironment in the Rhine/Meuse deltaic plain

ABSTRACTDetailed lithostratigraphical, palynological and 14C analyses have served to reconstruct the palaeoenvironment during two main, mid‐Holocene, regional phases of increased fluvial clay and sand deposition in the Rhine/Meuse deltaic plain. The investigated location lies in a broad area transitional to the upstream fluviatile and the downstream marine (lagoon/tidal flat) deposition zones. The palaeoenvironment appears to have been extensive, permanent open water intersected by the wooded natural levees of many small river channels. The term fluviolagoon is proposed for this typical environment, as illustrated here by three‐dimensional oblique landscape drawings. A present‐day example is found in the Magdalena river deltaic plain, Colombia.

John Linnell, William Blake, and the Printmaker's Craft

John Linnell, Samuel Palmer, George Richmond, and Edward Calvert have found their place in the history of English art primarily as of William Blake. This designation is appropriate for the latter three artists for several reasons: they knew Blake in the last few years of his life; they greatly admired the man for his integrity and dedication to art; and their own work was, for at least a few years, profoundly influenced by Blake's. Further, Palmer, Richmond, Calvert, and a few friends formed a circle of Ancients, as they styled themselves, dedicated to a spiritually charged appreciation of nature which they pursued with occasionally idiosyncratic intensity in the environs of Shoreham, Kent. Linnell's personal contacts with Blake are equally certain and well-documented, yet the artistic significance of their friendship is less clear. One artist can be the friend and even the patron of another without being a follower, for that term implies influence and the consequent continuation of a master's styles and motifs in the work of a student. Linnell was unquestionably an associate of Blake's, but in what sense was he a follower? When the two men first met in the summer of 1818, Blake was sixty years old, while Linnell was just beginning his twenty-sixth year.' These simple facts might suggest that Linnell, like the even younger followers a few years later, was a man still in the midst of his education in the arts and ready to be instructed by a mature painter and engraver whom he greatly admired. There is, however, no evidence that this was the case. Blake was a late-bloomer as a pictorial artist, having produced his great color printed drawings at the age of thirty-eight, his first tempera paintings when forty-three, and his best water colors in his late forties and fifties. His finest work as an intaglio printmaker would not come until after 1818. Reversing this pattern, Linnell was something of a prodigy as a draughtsman, showing in his earliest studio work a dexterous pencil of the sort Blake never cared to develop. When only fifteen, Linnell was awarded a medal for his drawings from the life by the Royal Academy School-an indication of professional approval, of the very sort Blake never received, from one of the institutions of conventional taste attacked by Blake in his writings.2 By 1818, Linnell had produced some of his best landscape drawings and oil paintings, including the Kensington Gravel

Picasso, Photography, and the Development of Cubism

In a series of landscape paintings and drawings done in Spain in the summer of 1909, Picasso evolved a complex formal language that was critical to the development of Cubism. During that vital summer, he also took photographs of the same motifs he rendered. From unpublished letters he wrote to Gertrude Stein, detailed analyses of the photographs that have survived, and evidence in other correspondence and paintings, this article suggests that photography may have played a part in Picasso's work of 1909 and in the advancement of that new Cubist language.

The air gap phenomenon in children's landscape drawings

The “air gap” phenomenon was found to be very common in the free landscape drawings of middle and later childhood. Three experiments are reported in which the contextual cues for such drawings were systematically manipulated. When subjects were supplied with drawing sheets constructed to imply the absence of the air gap, the phenomenon was eliminated in most of their drawings. When supplied with sheets constructed to imply its presence, most subjects produced air gap drawings using contextually provided reference lines. There were no consistent transfer effects across different cuing orders. The susceptibility of the air gap phenomenon to modification by task manipulation suggests that it results from problems of production rather than from defects in the child's internal representation of the world.

Drawings Made during a Visit in 1974 to the People's Republic of China

In the summer of 1973 our friend Per Ravne, the Norwegian Ambassador to the People's Republic of China, invited me and my family to visit him in Peking. We had been spending our summers in Norway since 1966 and the Ambassador had developed an interest in my landscape drawings of his country. He also knew that for many years I had dreamed of going to China and particularly wanted to see Kwangsi Province with its unique mountains so famous in the landscape of China.

Gainsborough's Landscape Drawings

Gainsborough's Landscape Drawings

On landscape Drawings by Pieter Bruegel the Elder

On landscape Drawings by Pieter Bruegel the Elder

"Original or Copy?": Two Renaissance Landscape Drawings

"Original or Copy?": Two Renaissance Landscape Drawings

Netherlandish Landscape Drawings

Netherlandish Landscape Drawings