Circumpolar Landscape

Art and Environment in Scandinavia and North America, 1890-1930

Inbunden, Engelska, 2024

949 kr

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A Circumpolar Landscape demonstrates that Canadian and Scandinavian landscape painting reaches far beyond national identity and a preoccupation with Eurocentrism. This study brings together the work of Emily Carr, the Canadian Group of Seven, Anna Boberg, and Gustaf Fjaestad among others, with each chapter highlighting the high level of interactivity between artists and the environment. Simultaneously, this book highlights the lack of awareness of the respective ecosystems in which many of these works were produced. Working around northern hemispheric latitudinal lines, this book considers how a similar ecology and topography - orientated around the themes of forests, wilderness, lakes, mountains, aurorae, and ice – was depicted and is shared across these northern landscapes.This powerful and timely book takes these respective art histories in the direction of the environmental humanities and an ecocritical art history, recognising the broader transnational and ecological framework of the Circumpolar North.

Produktinformation

Utgivningsdatum2024-04-15
Mått190 x 250 x 21 mm
Vikt972 g
FormatInbunden
SpråkEngelska
SerieNorthern Lights
Antal sidor208
FörlagLund Humphries Publishers Ltd
ISBN9781848225886

Tillhör följande kategorier

Målarkonst inom Kultur
Konsthistoria inom Kultur

'Moving beyond the usual stylistic analysis and interpretation of northern landscape paintings and prints from the late 19th century to the 1930s, Gapp turns to the shared geographical areas and natural environments of Scandinavia and Canada to address a new ecocritical history of art. Putting aside the more traditional focus on National Romanticism in northern landscape paintings, an alternate art historical approach employs a methodology that takes the ecological history and the future impact of climate change into consideration. An important aspect of this book is the consideration of the Indigenous histories connected to the landscapes depicted and a recognition of the impact of colonization. While many writings on northern landscapes focus on male artists, Gapp recognizes several woman, including Kitty Kielland, a Norwegian artist whose paintings of bogs are considered as a “watery landscape" in the chapter “Aqueous Atmospheres.” Several chapters use polar exploration records to delve into the subject of the aurora borealis, as seen in prints and drawings. Excellent notes and bibliography are included. Summing Up: Highly recommended.' – E. M. Hansen, CHOICE