Ĭentral to landscape is the role of the spectator. In the case of direct observation, landscapes require a beholder to set the parameters of scope, depth and details within the vista. Scape refers to a view of any scenery and thus does not always refer to a portion of the earth but can include interior architectural spaces and, increasingly, virtual digital (cyber)spaces. Other scapes include dreamscapes, seascapes, townscapes, roofscapes, moonscapes and cityscapes. These scapes serve as environmental media that envelop the observer. Scape can also be used to describe the impression or quality of a thing or action. The suffix ‘scape' in ‘landscape” posits the presence of a unifying principle which positions one view, a bounded landscape, as representative of the larger environment or entire landscape. The word landscape first appeared printed in English in 1603 and has origins in Middle Dutch ( landscap ) meaning region, German ( landschaft ) and Old Norse ( landskap ). A previous formation in English was landskip. Also note that the suffix –ship is closely tied to –schaft meaning constitution, condition or shape. 2) the branch of painting, photography, etc, dealing with such pictures 3) a view, prospect or vista of scenery or tract of land with its distinguishing characteristics either natural and/or man made. As verb, landscape is: 4) the act of shaping land so as to make it more attractive or useful. Weekley, Ernest, An Etymological Dictionary of Modern English, London, 1921.Īs noun, landscape is: 1) a picture, sketch, etching, photograph, map or other representation of inland scenery, as of prairie, woodland, mountains, etc. Tuan, Yi-Fu, Space and Place: The Perspective of Experience, Minnesota, 1977. Schivelbusch, Wolfgang, The Railway Journey, Berkeley, California, 1977. Meyrowitz, Joshua, No Sense of Place: The Impact of Electronic Media on Social Behavior, New York, 1985. Mitchell, W.J.T., (ed.), Landscape and Power, Chicago, 1994. Mitchell, William J., City of Bits, Cambridge, Mass, 1995. McLuhan, Marshall, Understanding Media, New York, 1964. Hall, Lee, Olmsted's America, Boston, 1995. (ed.), Chambers Dictionary of Etymology, Edinburgh, 1988.Ĭampanella, Thomas J., Cities from the Sky, New York, 2001.Ĭonzen, Michael, (ed.), The Making of the American Landscape, London, 1990.ĭaniels, Stephen, "The Politics of Landscape in European Art," in The Bulfinch Guide to Art History, West, Shearer, (ed.), Boston, 1996. The evidences of this travel (which are really incontestable, though a small minority of critics still decline to admit them) consist of (1) some fine drawings, three of them dated 1494 and others undated, but plainly of the same time, in which Diirer has copied, or rather boldly translated into his own Gothic and German style, two famous engravings by Mantegna, a number of the "Tarocchi" prints of single figures which pass erroneously under that master's name, and one by yet another minor master of the North-Italian school with another drawing dated 1495 and plainly copied from a lost original by Antonio Pollaiuolo, and yet another of an infant Christ copied in 1495 from Lorenzo di Credi, from whom also Diirer took a motive for the composition of one of his earliest Madonnas (2) several landscape drawings done in the passes of Tirol and the Trentino, which technically will not fit in with any other period of his work, and furnish a clear record of his having crossed the Alps about this date (3) two or three drawings of the costumes of Venetian courtesans, which he could not have made anywhere but in Venice itself, and one of which is used in his great woodcut Apocalypse series of 1498 (4) a general preoccupation which he shows for some years from this date with the problems of the female nude, treated in a manner for which Italy only could have set him the example and (5) the clear implication contained in a letter written from Venice in 1506 that he had been there already eleven years before when things, he says, pleased him much which at the time of writing please him no more.Adams, Ann, "Competing Communities in the 'Great Bog of Europe'-Identity and Seventeenth-Century Dutch Landscape Paining," from: Mitchell, W.J.T., (ed.), Landscape and Power, Chicago, 1994.Īdams, Steven & Robins, Anna Gruetzner, Gendering Landscape Art, New Brunswick, NJ, 2000.Īppleton, Jay, The Experience of Landscape, London, 1975.īarnhart, Robert K.
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