![]() The scene is alive with the exhilaration of on-the-spot observation. Against this develops a curvilinear play in the cuplike curves of rocks and lakeshore seen also in "Among the Sierra Nevada Mountains, California" which also features a body of water and deer. Finally, the most distant snow-covered peaks are seen at top left center. The eye moves into the space by diagonal steps, from the family of deer (the only animate objects in the painting) just right of center, to the stand of trees, to the right distance, and to the soaring cathedral rock across the water. While nature’s beauty is awe-inspiring and bountiful, nature can also be a devastating and unpredictable force, that presents a danger to all caught by it.īierstadt's dramatic sense was keen, and he was a master at the creative transformation of a few basic compositions with the light-struck sky and water enhancing the scene. ![]() The painting, much like Cole’s later “Oxbow” present the two debating point of views that plagued the issue of American Expansion. This divine intervention when placed into the context of early American western expansion can be traced to the ideas of “Manifest Destiny” and the american duty to “tame the wild”. The composition pans from right to left as a burst of light, suggesting a divine intervention expels Adam and Eve from Eden into the wilderness. ![]() The ravaged trees worn by time and storm on the left contrast strongly with the beautiful tropic of paradise at the right. Nature plays contrasting role from the beauty of paradise and untamed wilderness, showing both the beauty and tenacious danger of nature. A familiar and classical Narrative reminiscent of Massacio and Michelangelo. As you look at these 19th century landscapes, think about how artists over time have contributed to our view of the natural world and its significance in our lives.This may be tied to the the exploration and expansion of America into the west a popular theme in Thomas Cole’s works like “The Oxbow”. Global warming, mining rights, wildlife preservation and land use are all controversial issues. In the 21st century, we still debate humanity’s right to use the planet for only our own good. These three competing ways of looking at Nature are relevant today. The Sublime emphasizes God’s dominion over humanity and considers the possible folly in mankind’s overriding confidence. These works can also be uplifting, but in a deeply spiritual way. ![]() Humanity is small and impotent in front of raging rivers, dizzying cliffs and canyons, ferocious animals, and violent storms. Sublime images, on the other hand, show Nature at its most fearsome in fact, Burke believed that “terror is in all cases… the ruling principle of the sublime.” There is an awe and reverence for the wild that to Burke was akin to violent passion. These scenes are uplifting, but not frightening. The artist and the viewer delight in unspoiled panoramas: sunsets behind majestic mountains, an egret taking off from a quiet marsh, a deer bathed in a shaft of light in the woods. Gilpin encouraged his followers to engage in “picturesque travel” – the goal of which was to discover beauty created solely by Nature. The Picturesque - a category developed in the late 1700s by clergyman and artist William Gilpin - refers to the charm of discovering the landscape in its natural state. Man has developed and tamed the landscape – it yields the necessities we need to live, as well as beauty and safety. The scenes are peaceful, often depicting ripe harvests, lovely gardens, manicured lawns with broad vistas, and fattened livestock. Pastoral landscapes celebrate the dominion of mankind over nature. Whereas the Pastoral and Picturesque reference mankind’s ability to control the natural world, the Sublime is a humbling reminder that humanity is not all-powerful. The last, as articulated by Edmund Burke in his Philosophical Enquiry into the Origin of our Ideas of the Sublime and Beautiful (1757), refers to the thrill and danger of confronting untamed Nature and its overwhelming forces, such as thunderstorms and deep chasms. The first two represent Nature as a comforting source of physical and spiritual sustenance. Three aesthetic concepts established during the Romantic era divided the natural world into categories: the Pastoral, the Picturesque, and the Sublime. The 19th century was the golden age of landscape painting in Europe and America.
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