Artistic Visions of the Anthropocene North

Hedin, Gry; Gremaud, Ann-Sofie N.

doi:10.4324/9781315311890

Cited by 8 publications

(3 citation statements)

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“…Art often deals with questions in an open-ended way that leaves space for reflection.' 5 They consider the artist's position in relation to environmental history and science, and note their engagement with the changing narratives of science as a method by which to enrich artworks' meaning.…”

Section: An Arctic Ecocritical Art Historymentioning

confidence: 99%

A Woman in the Far North:

Gapp¹

2021

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Isabelle Gapp holds a PhD in History of Art from the University of York (2020), and will begin as an Arts & Science Postdoctoral Fellow at the University of Toronto in September 2021. Her research considers the intersections between nineteenth and twentieth century landscape painting, gender and environmental history around the Circumpolar North. Among her publications is 'An Arctic Impressionism? Anna Boberg and the Lofoten Islands' , in Mapping Impressionist Painting in Transnational Contexts, eds. E.C. Burns and A.M. Rudy Price (2021), and additional forthcoming articles relating to Arctic map-making, coastlines and wilderness ideologies.

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Section: An Arctic Ecocritical Art Historymentioning

confidence: 99%

A Woman in the Far North:

Gapp¹

2021

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“…Keil and Knecht, 2017;Finger and Heininen, 2018;Dodds and Nuttall, 2019). The reasons for such enchantment and the ways in which that might be manifested are varied, ranging from appeals for synoptic knowledge-collection to popular representations of the Anthropocene (Hedin and Gremaud, 2018;Lehman, 2019). However, few would dispute that the intersections of ongoing environmental and geophysical change coupled with enhanced accessibility to the resource and transport potential of the region are integral to this assessment (e.g.…”

Section: Introductionmentioning

confidence: 99%

Introduction: the Arctic Council, Asian states and the global Arctic

Dodds¹,

Woon²

2020

‘Observing’ the Arctic

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“…Inden rejsen til Rom havde Eckersberg opholdt sig tre år i Paris, hvor han blandt andet havde studeret hos den franske historiemaler Jacques-Louis David (1748-1825), og det er sandsynligvis i denne periode, at Eckersbergs interesse for perspektivet for alvor blev vakt. 3 Denne artikel vil se på de tre udvalgte tegninger ud fra en antagelse om, at kimen til Eckersbergs begreb om grundbilledet formuleres side om side med de arkitektoniske prospekter, han malede i perioden. Og at begrebet traeder frem som en visuel struktur i denne motivgruppe -måske netop fordi det er i samme periode, at hans kunstsyn begynder at tage form.…”

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Grundbilledets geometri. Perspektiv- og sandhedskonstruktion i tre af Eckersbergs romerske tegninger

Havsteen¹

2017

Periskop

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The Geometry of the True Image. Construction of Perspective and Truth in Three of Eckersberg’s Roman DrawingsDanish painter C.W. Eckersberg published two perspective treatises 1833 and 1841. The 1833 treatise in particular contains important theoretical reflections on the use of perspective in painting. A central concept in Eckersberg’s perspective theory is the concept of grundbilledet – the fundamental image, or “the true image”. Earlier interpretations of this concept have focused either on Eckersberg’s interest in the natural sciences or the coinciding contemporary translation of Plato’s concept of “the idea”. Eckersberg’s Roman prospects, painted during his stay in Rome from 1813-1816, are often mentioned in passing in relation to his perspective theory, which wasn’t conceptualised until 20 years later. But – as has already been pointed out by others – the foundation of the later theory of perspective was probably laid during his years in Rome and his previous stay in Paris from 1810-1813. I suggest that this particular group of images and their insistence on architectonic and geometric shapes can help us shed light on Eckersberg’s later theory. In Eckersberg’s paintings, the application of perspective construction goes hand in hand with a detailed observation of nature; the perspective construction ultimately aims at correcting the sensual perception. So do we find the key to an understanding of Eckersberg’s idea of the true image in the abstract, geometric forms that he cultivates in these architectural studies? I investigate this question by comparing three of Eckersberg’s Roman drawings with his perspective theory and contemporary French theories on perspective and architecture.

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Artistic Visions of the Anthropocene North

Cited by 8 publications

References 0 publications

A Woman in the Far North:

A Woman in the Far North:

Introduction: the Arctic Council, Asian states and the global Arctic

Grundbilledets geometri. Perspektiv- og sandhedskonstruktion i tre af Eckersbergs romerske tegninger

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