According to Professor Claude Cernuschi, writing in a catalogue for a Matta exhibition at Boston College (see external link below), Matta's use of the term inscape for a series of landscape-like abstract or surrealist paintings reflects "the psychoanalytic view of the mind as a three-dimensional space: the 'inscape'." The 'inscape' concept is particularly apt for Matta's works of the late 1930s. As Dawn Ades (p. 233) writes, "A series of brilliant oil paintings done during the years of his [Matta's] first association with the Surrealists explore visual metaphors for the mental landscape." And Valerie Fletcher, in Crosscurrents of Modernism , writes that during this time Matta "created with startling mastery the paintings he called 'inscapes' or 'psychological morphologies.' " See also Miriam Basilio's essay, "Wifredo Lam's 'The Jungle' and Matta's 'Inscapes' ".
The term inscape was later taken up by the leading Australian surrealist James Gleeson, American abstract artists such as James Brooks, Jane Frank, and Mary Frank (no relation), and even a group of British fantasy artists founded by Brigid Marlin in 1961 and calling themselves the 'Inscape Group.' (The latter group may have had in mind another sense of the word 'inscape', associated with the British poet Gerard Manley Hopkins. See the article titled simply 'inscape' for more information on this.) More recently, in a 1998 review of a Mary Frank exhibition in New York , Carol Diehl writes, "Titled 'Inscapes', the paintings are landscapes of the soul...."
Also clearly referring to the psychoanalytical meaning of the word as described by Prof. Cernuschi and others above, the leading journal of art therapy was formerly called simply Inscape. The journal is now called International journal of art therapy : Inscape. (This is not to be confused with the Inscape magazine produced by Brigid Marlin's Society for Art of Imagination.)
вторник, 25 августа 2009 г.
понедельник, 24 августа 2009 г.
History of cityscapes in art
From the first century A.D. dates a fresco at the Baths of Trajan in Rome depicting a bird's eye view of an ancient city. In the Middle Ages cityscapes appeared as a background for portraits and biblical themes. From the 16th up to the 18th century numerous copperplate prints and etchings were made showing cities in bird's eye view. The function of these prints was to provide a map-like overview.
Halfway the 17th century the cityscape became an independent genre in the Netherlands. In his famous 'View of Delft' in 1660-1661 Jan Vermeer painted a quite accurate portrait of the city Delft. Cities like Amsterdam, Haarlem and The Hague also became popular subjects for paintings. Painters from other European countries (i.e. Great Britain, France, Germany) followed the Dutch example. The 18th century was a flourishing period for cityscape painting in Venice (Canaletto, Guardi).
At the end of the 19th century the impressionists focused on the atmosphere and dynamics of everyday life in the city. Suburban and industrial areas, building sites and railway yards also became subjects for cityscapes. During the 20th century attention became focused on abstract and conceptual art, and thus the production of cityscapes declined. American painter Edward Hopper, who stayed loyal to figurative painting, created intriguing images of the American scene. With a revival of figurative art at the end of the 20th century comes a revaluation of the cityscape. Well-known living cityscape painters are Rackstraw Downes, Antonio López García, and Richard Estes. American artist Yvonne Jacquette has made a specialty of aerial cityscapes.
Halfway the 17th century the cityscape became an independent genre in the Netherlands. In his famous 'View of Delft' in 1660-1661 Jan Vermeer painted a quite accurate portrait of the city Delft. Cities like Amsterdam, Haarlem and The Hague also became popular subjects for paintings. Painters from other European countries (i.e. Great Britain, France, Germany) followed the Dutch example. The 18th century was a flourishing period for cityscape painting in Venice (Canaletto, Guardi).
At the end of the 19th century the impressionists focused on the atmosphere and dynamics of everyday life in the city. Suburban and industrial areas, building sites and railway yards also became subjects for cityscapes. During the 20th century attention became focused on abstract and conceptual art, and thus the production of cityscapes declined. American painter Edward Hopper, who stayed loyal to figurative painting, created intriguing images of the American scene. With a revival of figurative art at the end of the 20th century comes a revaluation of the cityscape. Well-known living cityscape painters are Rackstraw Downes, Antonio López García, and Richard Estes. American artist Yvonne Jacquette has made a specialty of aerial cityscapes.
Landscape art
Landscape art depicts scenery such as mountains, valleys, trees, rivers, and forests. Sky is almost always included in the view, and weather usually is an element 'of the composition. In the first century A.D., Roman frescoes of landscapes decorated rooms that have been preserved at Pompeii and Herculaneum. Traditionally, landscape art depicts the surface of the earth, but there are other sorts of landscapes, such as moonscapes.
The word landscape is from the Dutch, landschap meaning a sheaf, a patch of cultivated ground. The word entered the English vocabulary of the connoisseur in the late 17th century.
Early in the fifteenth century, landscape painting was established as a genre in Europe, as a setting for human activity, often expressed in a religious subject, such as the themes of the Rest on the Flight into Egypt, the Journey of the Magi, or Saint Jerome in the Desert.
The Chinese tradition of "pure" landscape, in which the minute human figure simply gives scale and invites the viewer to participate in the experience, was well established by the time the oldest surviving ink paintings were executed.
In Europe, as John Ruskin realized, and Sir Kenneth Clark brought to view, landscape painting was the "chief artistic creation of the nineteenth century", with the result that in the following period people were "apt to assume that the appreciation of natural beauty and the painting of landscape is a normal and enduring part of our spiritual activity" In Clark's analysis, underlying European ways to convert the complexity of landscape to an idea were four fundamental approaches: by the acceptance of descriptive symbols, by curiosity about the facts of nature, by the creation of fantasy to allay deep-rooted fears of nature and by the belief in a Golden Age of harmony and order, which might be retrieved.
In the United States, the Hudson River School, prominent in the middle to late nineteenth century, is probably the best known native development in landscape art. These painters created works of mammoth scale in attempting to capture the epic scope of the landscapes that inspired them. The work of Thomas Cole, the school's generally acknowledged founder, has much in common with the philosophical ideals of European landscape paintings — a kind of secular faith in the spiritual benefits to be gained from the contemplation of natural beauty. Some of the later Hudson River School artists, such as Albert Bierstadt, created less comforting works which placed a greater emphasis (with a great deal of romantic exaggeration, to be sure) on the raw, even terrifying power of nature.
As explorers, naturalists, mariners, merchants and settlers arrived on the shores of Atlantic Canada in the early centuries of its exploration, they were confronted by what they saw as a hostile and dangerous environment and an unforgiving sea. These Europeans tried to cope with the daunting new land by mapping, recording and claiming it as their own. Their understanding of the specific nature of this land and its inhabitants varied greatly, with observations ranging from highly accurate and scientific to outlandish or fantastic. These observations are documented in the landscape artworks they produced. The best examples of Canadian landscape art can be found in the works of the Group of Seven, prominent in the 1920s.
The word landscape is from the Dutch, landschap meaning a sheaf, a patch of cultivated ground. The word entered the English vocabulary of the connoisseur in the late 17th century.
Early in the fifteenth century, landscape painting was established as a genre in Europe, as a setting for human activity, often expressed in a religious subject, such as the themes of the Rest on the Flight into Egypt, the Journey of the Magi, or Saint Jerome in the Desert.
The Chinese tradition of "pure" landscape, in which the minute human figure simply gives scale and invites the viewer to participate in the experience, was well established by the time the oldest surviving ink paintings were executed.
In Europe, as John Ruskin realized, and Sir Kenneth Clark brought to view, landscape painting was the "chief artistic creation of the nineteenth century", with the result that in the following period people were "apt to assume that the appreciation of natural beauty and the painting of landscape is a normal and enduring part of our spiritual activity" In Clark's analysis, underlying European ways to convert the complexity of landscape to an idea were four fundamental approaches: by the acceptance of descriptive symbols, by curiosity about the facts of nature, by the creation of fantasy to allay deep-rooted fears of nature and by the belief in a Golden Age of harmony and order, which might be retrieved.
In the United States, the Hudson River School, prominent in the middle to late nineteenth century, is probably the best known native development in landscape art. These painters created works of mammoth scale in attempting to capture the epic scope of the landscapes that inspired them. The work of Thomas Cole, the school's generally acknowledged founder, has much in common with the philosophical ideals of European landscape paintings — a kind of secular faith in the spiritual benefits to be gained from the contemplation of natural beauty. Some of the later Hudson River School artists, such as Albert Bierstadt, created less comforting works which placed a greater emphasis (with a great deal of romantic exaggeration, to be sure) on the raw, even terrifying power of nature.
As explorers, naturalists, mariners, merchants and settlers arrived on the shores of Atlantic Canada in the early centuries of its exploration, they were confronted by what they saw as a hostile and dangerous environment and an unforgiving sea. These Europeans tried to cope with the daunting new land by mapping, recording and claiming it as their own. Their understanding of the specific nature of this land and its inhabitants varied greatly, with observations ranging from highly accurate and scientific to outlandish or fantastic. These observations are documented in the landscape artworks they produced. The best examples of Canadian landscape art can be found in the works of the Group of Seven, prominent in the 1920s.
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