The relationship with nature through art has been explored as a two fold bond. The first considers a relationship with nature via art and science, where the history and contemporary application of scientific illustration in art is explored; while the second explores past and present connections with nature via art and the landscape, particularly the panoramic tradition. Historically these relationships have predominately been about dominating nature, mans dominion over the land. Science was seen as the only authority, while our relationships with the land in art, positioned the viewer at a commanding distance above and over the land, as seen in the post colonial panoramic tradition. In contrast, -The Coorong Series- explores a lived history with nature rather than the historical role of dominance. -The Coorong Series" explores a relationship of knowledge, understanding, and the experience of nature; through two parts. The first combines art and science in -The Coorong Specimen Series', to explore the facts and knowledge that science has provided about certain plants, birds and marine life from the Coorong. Inspiration has been derived from 19thC scientific illustrations and the lyrical prints of the Coorong by Australian Artist John Olsen. Part two explores the immersive experience of the iconic landscape in ???The Coorong Landscape Series" providing a relationship that seeks to understand the functionality of the location and to celebrate the unique beauty of this diverse region. Inspiration has been gained from the landscapes by l8th and 19th C artists John Constable and Claude Monet, along with landscapes by contemporary artists, John Walker and Mandy Martin. Through aesthetic notions such as scientific illustration, panoramic landscape, immersive scale, the collection of work, an expressionistic use of paint, and labeling of each piece like a museum display. -The Coorong landscape series" provides an exploration of a region that immerses the viewer in an experience of the location. The series portrays a relationship with nature through art that educates the viewer about The Coorong region. Connections are made between the land, birds, plants, fish, and human interaction; which results in an ecological consideration of the Coorong. Ultimately it is the educational experience that art provides allowing the viewer to explore a plethora of relationships within nature, and to explore how these relationships have changed or continue to exist within this era.

Thesis (doctoral)--Uppsala universitet, 1989. / Summary in English. Includes bibliographical references (p. 280-288) and index.

This thesis examines the roles of the sublime and the beautiful in the works of eighteenth-century French landscape painter Claude-Joseph Vernet. An introduction to the study, a history of the sublime and beautiful, and an overview of the way these ideas are portrayed in Vernet's calm and storm pendants are provided. How commissions for these pendants relate to theoretical developments of the sublime and beautiful and how Vernet became aware of the these ideas are addressed. The thesis shows Vernet was not dependent on British patrons or on the century's most influential aesthetic treatise on the sublime and the beautiful by Edmund Burke, because Vernet started painting such themes well before Burke's treatise (1757) and did so in response to French patrons.

Thesis (MA)--Stellenbosch University, 2015. / ENGLISH ABSTRACT: This study explores the significance of landscape painting in my own work and in the work of Moses Tladi, one of the lesser-known SA pioneer artists working in the oil painting convention. Through a Romantic lens, I argue that Tladi’s paintings exist as record of his experiences, thoughts and emotions, making use of a hermeneutics ‘from within’, rather than one aimed at Realist exposition. While employing such a hermeneutics in my own practice, I seek out points of connection between Tladi and myself, as well as explore if and to what degree our different socio-political circumstances shape our practices. In part one of the thesis I sketch a narrative backdrop to the era in which Tladi lived and of his relationship to his patrons, mentors and the establishment. I explore his work in relation to popular conventions at the time, matters of modernism and abstraction, as well as to some degree how the landscape genre functions in terms of class. The overall argument is divided in two parts, that of the metaphorical ‘Garden’ and that of the ‘Wilderness’. With this divide I aim to reveal how Tladi employs the transcendent both in the sublime expanse of Sekhukhuneland and in his domestic, everyday reality. The ideological relationship between the Garden and Wilderness is examined in terms of theories on landscape, imperialism and the Lutheran missionary project. In the second part I describe my own work and discuss the contribution it makes. While alluding to many of the devices already discussed in Tladi’s work, I sketch the context in which my own paintings were made and explain some of my stylistic and curatorial choices. In demonstrating how our techniques and methodologies overlap, I aim to cristallise some of the theoretical themes explored. / AFRIKAANSE OPSOMMING: Hierdie studie handel oor die belang van landskapskilder in my eie werk en in the werk van Moses Tladi, een van Suid-Afrika se minder bekende pionier-kunstenaars in die olieverftradisie. Ek argumenteer, deur ’n Romantiese blik, dat Tladi se werk as rekord verskyn van sy ervarings, gedagtes en emosies. In hierdie opsig is sy hermeneutiek ‘inwaarts’ gekeer, eerder as gefokus op die Realistiese ontbloting van sekere sosiale kwessies. Terwyl ek in my eie skilderpraktyk ook van so ’n hermeneutiek gebruik maak, soek ek raakpunte tussen my en Tladi se werk onderwyl ek ondersoek of, en tot watter mate, ons verskillende sosio-politiese omstandighede ons werk vorm. In Deel Een van die tesis skets ek ’n narratiewe agtergrond tot die era waarin Tladi geleef het en kyk na sy verhouding met sy beskermhere (“patrons”), sy mentors en die kunsstigting. Ek ondersoek Tladi se werk aan die hand van populêre konvensies van sy tyd sowel as kwessies van Modernisme en abstraksie. Ek kyk ook vlugtig na hoe die landskap-genre ten opsigte van sosiale stand funksioneer. My algehele argument het twee afdelings, die metafoor van die ‘Tuin’, en dié van die ‘Wildernis’. Met hierdie verdeling beoog ek om te wys hoe Tladi transendente aspekte voorstel in die uitgestrekte, ontsagwekkende landskappe van Sekhukhuneland, maar ook in sy alledaagse, sosiale realiteit. Die ideologiese verhouding tussen die Tuin en die Wildernis word verder ondersoek ten opsigte van teorieë oor landskap, imperialisme en die sendingpraktyke van die Lutherse Kerk. In Deel Twee beskryf ek my eie werk sowel as die bydrae wat dit maak. Ek beskryf die konteks waarin sommige van die skilderye gemaak is, bespreek hul inhoud, en kyk na spesifieke stilistiese en kuratoriale keuses. Deurentyd raak ek aan die tegnieke en temas wat alreeds bespreek is in die afdeling oor Tladi. Deur te demonstreer hoe my en Tladi se tegniek en metodologie oorvleuel, hoop ek om die teoretiese temas wat reeds ondersoek is, te kristalliseer.

Dissertation submitted in partial compliance with the requirements for the Master's Degree in Technology: Fine Art, Durban Institute of Technology, 2004. / This research aims to critically investigate the changing colonial and post-colonial attitudes towards the South African landscape, as physical space and its representation, through a post-colonial and Post-Modern critique. Chapter One explores the shifting colonial attitudes toward the landscape from the middle of the eighteenth century to the middle of the twentieth century, to provide an historical overview and context for contemporary practice. Section One defines colonialism for the purposes of this study and provides a brief history of colonialism in South Africa. Section Two provides a concise history of European visual representation from the middle of the eighteenth century to the middle of the twentieth century in order to contextualize the development of South African landscape painting. Section Three analyzes and evaluates changing colonial attitudes and their representation through a discussion of the work of Francois Le Vaillant (1753-1842), Thomas Baines (1820-1875) and J.H. Pierneef (1886-1957). Chapter Two explores attitudes towards the South African landscape between 1948 and 1994 in order to provide a link between colonial representation and post-colonial contemporary practice. / M

This thesis focuses on several paintings of the Mexican landscape produced by Conrad Wise Chapman (1842 – 1910) and held by the Valentine Richmond History Center in Richmond, Virginia. Chapman lived in Mexico from 1865 to 1867 and from 1883 to 1908 (with a few short absences), and during this period, produced a large number of landscapes, which are the subject of this thesis and will be considered as an amalgamation of both nineteenth-century Mexican landscape painting and traveler-art. It is the purpose of this study to demonstrate that Chapman’s artistic style embodies both classical components of landscape painting and characteristics commonly associated with traveler-art. This investigation of Chapman’s Mexican oeuvre provides significant insight into a period of the artist’s career that has long been neglected, and it examines several works of art not yet considered by scholars.

A research report submitted to the Faculty of Humanities, University of the Witwatersrand, Johannesburg, in partial fulfilment of the requirements for the degree of Master of Arts in Fine Arts, 2017 / The central question I want to ask in this dissertation is: How to paint a highway? It sounds simple, but considering all that highways represent, the answer is anything but straightforward. The motivation for this study came about due to my travels on the N1 between two of my homes - one in Johannesburg, Gauteng, and the other in Rosendal, eastern Free State. [No abstract provided. Information taken from introduction]. / XL2018

黃佩賢. / 書名原題: 「臥遊」山水與程正揆《江山臥遊圖》 / 論文(碩士) -- 香港中文大學硏究院藝術學部,1995. / 參考文獻: leaves 135-142. / Huang Peixian. / 前言 --- p.1 / 前言 --- p.4 / Chapter 第一章 --- 「臥遊」山水 --- p.10 / Chapter 一. --- 「臥遊」的來源和定義 --- p.11 / Chapter 二. --- 「臥遊」的哲學內涵 --- p.14 / Chapter 三. --- 「臥遊」山水的理論發展 --- p.20 / Chapter 第二章 --- 程正揆的「臥遊」山水 --- p.50 / Chapter 一. --- 程正揆的生平 --- p.51 / Chapter 二. --- 程正揆的「臥遊」思想 --- p.62 / Chapter 第三章 --- 程正揆的《江山臥遊圖卷》 --- p.71 / Chapter 一. --- 「欲作《臥遊圖》五百卷」的願望 --- p.72 / Chapter 二. --- 《江山臥遊圖》的創作動機 --- p.79 / Chapter 三. --- 《江山臥遊圖》的次第問題 --- p.85 / Chapter 四. --- 《江山臥遊圖》的風格面貌 --- p.91 / 餘論 --- p.113 / 附錄一 程正揆生平年表 --- p.120 / 附錄二 程正揆《江山臥遊圖》傳世簡表 --- p.128 / 參考書目 --- p.134 / 圖版目錄 --- p.143

O presente estudo trata da linguagem pictórica do artista plástico Mario Zanini (1907-1971), tomando como referência suas leituras dedicadas à temática da paisagem. Norteia os esforços desta investigação a seguinte questão: será possível reconhecer os paralelos entre a produção pictórica de Zanini e as discussões sobre a questão da paisagem apresentada em sua biblioteca particular? Na busca por uma resposta, foram selecionados três livros (Paul Cézanne, Vincent Van Gogh e André Lhote) que compõem a Biblioteca particular de Mario Zanini, formada entre as décadas de 1930 e 1970, e posteriormente doada ao MAC USP, em conjunto com obras produzidas pelo artista. Este estudo também apresenta dois críticos que escolheram Mario Zanini como foco de suas pesquisas: Alice Brill e Walter Zanini. Ao final, o leitor encontrará a listagem com os títulos dos 226 livros da Biblioteca de Mario Zanini, ordenados pela data de publicação. / The research deals with the pictorial language and the landscape paintings of the Brazilian artist Mario Zanini (1907-1971), and the connections with his private Library, constituted between 1930 and 1970, and later donated by his family to MAC USP, along with his artworks. The study traces the parallels between his artworks and his pictorial language, through three books of his Library (Paul Cézanne, Vincent Van Gogh and André Lhote). The study is also based on the analysis of the art critics Walter Zanini and Alice Brill. Nevertheless, the total set of 226 books of his personal Library and their identifications are listed at the end of the thesis, sorted by date of publication.

This thesis centers on groups of landscape paintings on sliding doors and wall panels for temples in and around Kyoto by the painter Maruyama Ōkyo (1733-1795), dating to the latter half of the eighteenth century. I discuss Snow Landscape of the Chiba City Museum of Art, presumed to have been painted for the temple Enman’in in Ōtsu (Shiga Prefecture), and the former sliding door and wall paintings of Kiun’in, a subtemple of Nanzenji in Kyoto, now in the collection of the Tokyo National Museum. The analysis is embedded into considerations of underlying genre principles in Ōkyo’s art, the reflection on the relevance of “truthfulness to nature” (shasei) and considerations of how his works relate to established painting conventions in early modern Japan. I attempt to frame Ōkyo’s landscapes as an expression of the painter’s Chinese-inspired outlook on painting. Chapter One centers on Snow Landscape. I use stylistic comparison to argue that the paintings do not match other ink landscapes by Ōkyo of the so-called Enman’in period, but resemble closely another set of sliding doors paintings of similar subject matter at Shōkokuji, dated 1790. Snow Landscape can be understood as part of a small group of Ōkyo works that are thematically and formally related, and that all share obscure provenance and previously unaddressed questions of authorship. This includes sliding door paintings of the temple Daijōji (Hyōgo Prefecture), of Nishi Honganji and of the former Hara collection of Toyooka, all of them with their current whereabouts unknown. In Chapter Two, I provide a detailed reconstruction of the original temple spaces based on the features of the extant paintings, then proceed to disentangle the modalities of Ōkyo’s workshop production as the context from which the Kiun’in paintings likely originated. Comparison of large-scale landscape paintings reveals that much of Ōkyo’s approach relied on reuse of complete compositions, or at least, individual motifs. I argue that the Kiun’in paintings were possibly painted by disciples. Chapter Three provides glimpses on primary source material written during Ōkyo’s lifetime by his most important patrons: Banshi (1761-1773) by Prince Abbot Yūjō, the diary Onjiki nikki (1787) by Imperial Prince Shinnin and the records of the temple Myōhōin, Myōhōin hinamiki. I argue that little in Banshi allows to conceive of Ōkyo’s art as “modern;” rather, the documents character is shaped by Yūjō’s interest in technical matters of studio painting. Yūjō and Shinnin are connected through familial ties at the court; in addition, attendance data from the Myōhōin hinamiki foreshadows the later rift into a Maruyama school and a Shijō school after Ōkyo’s death. Chapter Four provides a concluding discussion of the significance and context of Ōkyo’s landscape paintings in Buddhist temples. I argue that Ōkyo’s multi-room ensembles for temple interiors are based on artistic convention and spatial hierarchies that are comparable to approaches of the Kano school, and suggest that response to nature, such as allusion to topographical surroundings of a building, usually played a subordinate role. Ōkyo’s art depended on the appreciation of ancient Chinese culture, and closely related to the intellectual outlook of the court of Emperor Kōkaku.