Samuel Palmer and Romanticism
- Authors: Chapman, Anton
- Date: 1985
- Subjects: Palmer, Samuel, 1805-1881 Criticism and interpretation , Romanticism in art , Blake, William, 1757-1827 Influence , Landscape painting, English 19th century
- Language: English
- Type: Master's theses , text
- Identifier: http://hdl.handle.net/10962/193269 , vital:45316
- Description: This introduction and ensuing essay are something in the nature of a personal confession. Deemed as such what I have written concerning Samuel Palmer has not, in any way, been written as an exercise, but rather for the purpose of self-edification. This I will elaborate upon while disclosing my motive for writing on Palmer. Palmer's works - when I first saw them - were something of a revelation. They seemed the alpha and omega of my own artistic endeavour. Perhaps the term which best describes the euphoria I felt is ‘deja vu’, because although it describes a connectedness of sorts, the words have in their sound an exotic ring. There is in it an implied equivocation - and equivocality best describes my understanding of Samuel Palmer at that juncture. This euphoria I felt dimmed with the realisation that by purportedly claiming, as I was, Samuel Palmer's visionary landscapes as my goal I was treading on sacred ground; I'd arrived, as it were, in another's Paradise. The effects of this upon my own creativity were completely negative. Worse still, I lacked the necessary means to extricate myself from Palmer's paradisiacal visions. His influence was incapacitating and convoluting my own growth. It was obvious then that I had to be rid of Samuel Palmer. , Thesis (MA) -- Faculty of Humanities, Fine Art, 1985
- Full Text:
- Date Issued: 1985
- Authors: Chapman, Anton
- Date: 1985
- Subjects: Palmer, Samuel, 1805-1881 Criticism and interpretation , Romanticism in art , Blake, William, 1757-1827 Influence , Landscape painting, English 19th century
- Language: English
- Type: Master's theses , text
- Identifier: http://hdl.handle.net/10962/193269 , vital:45316
- Description: This introduction and ensuing essay are something in the nature of a personal confession. Deemed as such what I have written concerning Samuel Palmer has not, in any way, been written as an exercise, but rather for the purpose of self-edification. This I will elaborate upon while disclosing my motive for writing on Palmer. Palmer's works - when I first saw them - were something of a revelation. They seemed the alpha and omega of my own artistic endeavour. Perhaps the term which best describes the euphoria I felt is ‘deja vu’, because although it describes a connectedness of sorts, the words have in their sound an exotic ring. There is in it an implied equivocation - and equivocality best describes my understanding of Samuel Palmer at that juncture. This euphoria I felt dimmed with the realisation that by purportedly claiming, as I was, Samuel Palmer's visionary landscapes as my goal I was treading on sacred ground; I'd arrived, as it were, in another's Paradise. The effects of this upon my own creativity were completely negative. Worse still, I lacked the necessary means to extricate myself from Palmer's paradisiacal visions. His influence was incapacitating and convoluting my own growth. It was obvious then that I had to be rid of Samuel Palmer. , Thesis (MA) -- Faculty of Humanities, Fine Art, 1985
- Full Text:
- Date Issued: 1985
Metaphysical elements of nineteenth century romantic landscape painting
- Thomas, Christopher Kay Patric
- Authors: Thomas, Christopher Kay Patric
- Date: 1973
- Subjects: Romanticism in art , Landscapes in art , Landscape painting -- 19th century
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2495 , http://hdl.handle.net/10962/d1013307
- Full Text:
- Date Issued: 1973
- Authors: Thomas, Christopher Kay Patric
- Date: 1973
- Subjects: Romanticism in art , Landscapes in art , Landscape painting -- 19th century
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2495 , http://hdl.handle.net/10962/d1013307
- Full Text:
- Date Issued: 1973
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