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This volume studies some of Edward Burne-Joness paintings, focusing specifically on his approach to nature, both through his observations about the real, physical world and through his symbolic interpretations of earthly and celestial realms. Burne-Joness appreciation for natural formations grew from his interests in astronomy and geography, and was expanded by his aesthetic sensibility for physical and metaphysical beauty. His drawings and watercolors carefully recorded the physical world he saw around him. These studies provided the background for a collection of paintings about landscapes with flora and fauna, and ignited an artistic furor that inspired the imagery he used in his allegorical, fantasy, and dream cycles about forests, winding paths, and sweet briar roses. This study focuses on two main ideas: Burne-Joness concept of ideal and artificial or magical nature expressed and represented in his drawings and paintings, and the way in which he fused his scientific knowledge about nature with some of the symbolism in his paintings.

Nature in art. --- Burne-Jones, Edward Coley, --- Criticism and interpretation.

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Early modern views of nature and the earth upended the depiction of land. Landscape emerged as a site of artistic exploration at a time when environments and ecologies were reshaped and transformed. This volume historicises the contingency of an ever-changing elemental world, reframing and reimagining landscape as a mediating space in the interplay between the natural and the artificial, the real and the imaginary, the internal and the external. The lens of the 'unruly' reveals the latent landscapes that undergirded their conception, the elemental resources that resurfaced from the bowels of the earth, the staged topographies that unsettled the boundaries between nature and technology, and the fragile ecologies that undermined the status quo of human environs.

Nature in art. --- Landscapes in art. --- Landscape in art --- Art History, Early Modern, Landscape, Seascape, Nature.

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Die niederländische Stillebenmalerei des 17. Jahrhunderts nahm aktiv an den naturphilosophischen und naturwissenschaftlichen Diskursen der Zeit teil, dennoch wird sie in der Forschung bis heute vereinfachend als "realistisch-abbildende" Kunst bezeichnet. Hier ist eine Rehabilitierung des Begriffs "Mimesis" dringend notwendig geworden. Die Autorin unternimmt einen Neustart der Diskussion, der stärker auf die historische Diskussion des Natur- und Bildbegriffs zurückgreift. So fragt sie, inwiefern im 17. Jahrhundert mimetische Strukturen als ein biotisches Vermögen zur Reproduktion verstanden wurden. Dabei ergeben sich zwei Thesen: erstens, dass das Stilleben die beiderseitige Fähigkeit von Natur und Kunst thematisiert, Ähnlichkeiten zu erzeugen, und zweitens, dass es aus diesem Grund prädestiniert ist für eine Theoretisierung mimetischer Strukturen der Kunst im Allgemeinen.

Iconography --- Painting --- anno 1600-1699 --- Still-life in art. --- Nature in art. --- Mimesis in art. --- Still-life painting --- Still-life in art --- Imitation in art

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"When Coastal Living Magazine listed Rockport, Texas, among its "Top 10 Coastal Artists' Colonies" with more well-known art communities such as Carmel-by-the-Sea, California, and Monhegan Island, Maine, many art lovers may have been surprised. But Rockport's inclusion represented an emerging Texas Gulf Coast aesthetic and regional school of landscape art that many art historians and collectors had discovered. The area's unique ecosystem, abundance of wildlife and quaint architecture of bait stands and fish houses became a haven for creativity and individuality, beginning in the late forties. Over the years, it became home to influential artists, including the colony founder, Simon Michael, his most famous student, Dalhart Windberg, Jack Cowan, Al Barnes, Herb Booth, and Jesus Moroles. Other prominent artists also came for inspiration, including Buck Schiwetz, Harold Phenix, and Kent Ullberg. Many of the artists were active in early environmental organizations like the Coastal Conservation Association and Ducks Unlimited, working to protect the special habitats. And Steve Russell, a Rockport native, became the legendary mentor and quintessential artist of the colony, inspiring generations of newcomers. In The Story of the Rockport-Fulton Art Colony: How a Coastal Texas Town Became an Art Enclave, Kay Kronke Betz and Vickie Moon Merchant chronicle how this small Texas town, whose economy was based on fishing, shrimping, and tourism, became a major regional center for the visual arts. Generously illustrated throughout with full-color images of boats, bays, and other hallmarks of this artistically rich community, this book is a visual and narrative treat for art lovers, conservationists, and historians alike"--

Nature dans l'art. --- Nature in art. --- Art and society --- Artist colonies --- History --- History. --- Michael, Simon, --- Influence. --- Texas --- Fulton (Tex.) --- Rockport (Tex.) --- Intellectual life.

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"As documented in Patsy Pittman Light's award-winning book, Capturing Nature, Mexican artisan Dionicio Rodríguez arrived in San Antonio in the 1920s and created concrete bus stop shelters, park benches, footbridges, and other structures in the style known as faux bois, or trabajo rústico. In the years since, these have become some of the city's most beloved landmarks, including a number listed on the National Register of Historic Places. Following on the success of that previous work, Light, with the assistance of photographer and artist Kent Rush, presents a comprehensive look at the legacy of Rodríguez as reflected in the works of those whom he trained, mentored, or influenced. Rodríguez captured nature in his work, but he also continues to capture our imagination. Drawing these artistic creations out of the urban landscape, Artisans of Trabajo Rústico makes the nearly invisible fully visible to the critic, the historian, and especially to the casual viewer. Light asserts that San Antonio has the largest concentration of this art form in the country and includes copious full-color photography of the work of Rodríguez and other artisans. This handsomely illustrated and painstakingly documented work offers the broadest possible panorama for the craft and endearing familiarity of this form. Inspired by nature, built by hand, and placed in the service of the public, these 'rustic works' continue to provide enjoyment, convenience, and a touch of artistic elegance to public and private landscapes in San Antonio and elsewhere. Light and Rush's work affords a fresh and wide-ranging look at this important artisanal tradition"--

Nature in art. --- Nature in popular culture. --- Garden ornaments and furniture --- Outdoor sculpture --- Concrete sculpture --- Decoration and ornament, Rustic --- Artisans --- Popular culture --- Themes, motives. --- Influence. --- Rodríguez, Dionicio, --- Texas --- Mexico.