Like ‘The Thames towards Putney’: The Appropriation of Landscape in Lower Canada

Coates, Colin M.

doi:10.3138/chr-074-03-01

Cited by 4 publications

(1 citation statement)

References 21 publications

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“…DaviD G. Burley anD ronalD ruBin > ANALYSIS to British North America, as in other settler and planter colonies of the British Empire, tried to recreate familiar landscapes of the homes they had left. 26 As Tony Hughes-d'Aeth has argued, ever since Gilpin's eighteenth-century travelogues, the picturesque offered travel writers touring the colonies an aesthetics by which to interpret unfamiliar landscapes. Too wild, too sublime, was intimidating; too beautiful, too ordered, impossible in lands new to the European gaze.…”

Section: Theories and Interpretations Of The Picturesquementioning

confidence: 99%

A Gentleman’s Country Villa

Burley¹,

Rubin²

2019

Journal of the Society for the Study of Architecture in Canada

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Section: Theories and Interpretations Of The Picturesquementioning

confidence: 99%

A Gentleman’s Country Villa

Burley¹,

Rubin²

2019

Journal of the Society for the Study of Architecture in Canada

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'Taken on the Spot': The Visual Appropriation of New France for the Global British Landscape

Crowley¹

2005

can

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Until the arrival of topographic landscape artists with British forces in the 1750s, European representations of North American landscapes usually depended on artists' imaginations, with deliberately schematic and symbolic results. During the British invasion, occupation, and colonization of New France, artists appropriated the conquests visually with topographic renderings of the empire's new landscapes. Post-conquest representations of New France were part of the creation of a global British landscape, with Canada as a distinctive part. Colonial landscapes claiming topographical accuracy became frequent at the same time that Britain extended its imperial interests by conquests and accessions on a global scale - in Canada, the trans-Appalachian West, India, and the Pacific. Evidence from prints, drawings, maps, charts, and fiction show how the sublime aspects of Canada's scenery confirmed the grandeur of the imperial project against New France, while the picturesque landscapes of towns, farms, and shorelines promised an easily governed population readily subject to British improvements. Jusqu'� l'arriv�e des paysagistes topographiques dans les forces britanniques au cours des ann�es 1750, la repr�sentation du paysage nord-am�ricain par les Europ�ens reposait le plus souvent sur la capacit� imaginative de l'artiste, ce qui donnait des r�sultats d�lib�r�ment sch�matiques et symboliques. Durant l'invasion, l'occupation et la colonisation de la Nouvelle-France par les Britanniques, les artistes proc�d�rent � une appropriation visuelle des territoires conquis en peignant la topographie des nouveaux paysages de l'empire. Les repr�sentations de la Nouvelle-France d'apr�s la conqu�te faisaient partie de la cr�ation d'un paysage britannique global, dont le Canada constituait une partie caract�ristique. Les paysages coloniaux se r�clamant d'une topographie exacte firent de fr�quentes apparitions au m�me moment o� la Grande-Bretagne �tendait son empire gr�ce � des conqu�tes et des rattachements men�s � l'�chelle mondiale - Canada, Ouest transappalachien, Inde et Pacifique. Les gravures, dessins, cartes terrestres et marines ainsi que les ouvrages de fiction d�montrent comment le c�t� sublime du paysage canadien venait confirmer la grandeur du projet imp�rial face � la Nouvelle-France, alors que les vues pittoresques des villages, des fermes et des c�tes offraient la promesse d'une population facile � gouverner, pr�te � accepter les am�nagements propos�s par les Britanniques.

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‘I Was Well Pleased with Our Sport among the Buffalo’: Big-Game Hunters, Travel Writing, and Cultural Imperialism in the British North American West, 1847-72

Gillespie¹

2002

Canadian Historical Review

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Like ‘The Thames towards Putney’: The Appropriation of Landscape in Lower Canada

Cited by 4 publications

References 21 publications

A Gentleman’s Country Villa

A Gentleman’s Country Villa

'Taken on the Spot': The Visual Appropriation of New France for the Global British Landscape

‘I Was Well Pleased with Our Sport among the Buffalo’: Big-Game Hunters, Travel Writing, and Cultural Imperialism in the British North American West, 1847-72

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