This course on the uses of nature in the development of tourism will be organized into two parts, the first we focus on the American landscape and the relationship between the representation of nature, the political, ideological and religious identification of places for the tourist practice. In the second we see how to organize a series of reports of power sitting on representations ideological, aesthetic and political, about a recreational use and tourism of nature, fishing for Atlantic salmon in a valley in the Gaspe in Quebec ,
I. The Making of the landscape, the American
The landscape painted, engraved or photographed is not a real copy of which existed previously. It is produced, socially and culturally, in specific historical contexts. The case of U.S. and Canadian landscape has been revisited in an exhibition held at the Museum of Montreal in the summer of 2009. The following data are from the catalog of this exhibition and website associated with it: Expanding Horizons. Painting and Photography of American and Canadian 1860 to 1918, Museum of Fine Arts of Montreal, 2009.
An important step in the "discovery" - it sounds like as the "invention" of the American landscape takes place between 1860 and 1918 in a context marked by the westward expansion, the affirmation of national identity and internal developments in the art field which results in new rules conceptualization and representation paysages.Nous will assume that the representations painted, engraved, photographs construsient a look that will then be one of the tourist, identifying special places whose images, reproduced in sériesn become "icons" of the new nation, and deveindront privileged places of the tourism industry. In this case the protecttion landscape will aim to coincide with the landscape Preel dream landscape.
can recognize several stages in the dynamics of movement. Painted representations of the years 1860-1880 seem to favor the wilderness, opened cpénétration by the white man and an invitation to interpret nature in terms of the "sublime." In 1872 the creation of Yellowstone National Park (1st U.S.) is the counterpart of the land surveying west. Park inaugurated a policy of nature reserves vested in recreational use of nature. Photography is also associated with advertising campaigns of the government for colonization of the west and to the action of the railway companies whose importance is essential in building these new nations. The Trans-Canada Railway "fact" really contemporary Canada. The railroad companies are diversifying the uses of photography which is used to celebrate the conquest of new spaces by the construction of the line, show new places obedient to the aesthetic of the sublime, and promote passenger traffic or tourism.
Some tables and photographs illustrate these particular episodes.
Yosemite Valley and the Sublime
The paintings by Albert Bierstadt Yosemite Valley and illustrate both the aesthetics of the sublime and perception tainted by ideology of the Western Lands. These are data to show as blank, close to the original nature, and offered to the white man in a divine plan.
Albert Bierstadt, Yosemite Valley , 1868, Oil on canvas 137.8 x 184.2 cm; Oakland Museum of California, Gift of Miss Margaret Laird in memory of Mr. and Mrs.. Laird PW; Inv. A64.46 Â
1830 -1902 Albert Bierstadt
S Internet site of the exhibition offers the following comment:
"Albert Bierstadt never tired of painting the Yosemite Valley. Having admired at an exhibition in New York in 1862, the photos taken by Carleton Watkins in the region, he went there the first time in 1863 and began the following year in the first run oil variées.Son monumental panorama (1865) first causes skepticism: the critical questions the veracity of the composition - accusing the artist of bombast and "monstrous stage landscape" - and denouncing the melodramatic action.
"Back in 1868 the theme, the view Eden Valley (in 1863, Bierstadt has characterized itself the site of the Garden of Eden) was probably completed in Rome. No man violates this vision of the wilderness; human presence as European Amerindian is banned from this exalted interpretation of a primeval splendor.
Albert Bierstadt canvas offers another in the same spirit. This time travelers from Europe are present in a peaceful atmosphere.
"It's an idyllic view, absolutely heavenly, with the characters. Before the collapse of monumental proportions, the artist bivouac and his companions from their horses graze. The U.S. State of the Union are at the heart of a crucial year and too bloody Civil War. The table refers not only beauty, peace and nobility of nature, but also the considerable promise of California, and by extension, of the Union.
Niagara Falls, American icon.
Niagara Falls are another American icon. The paintings of Frederic Edwin Church are painted from a "point of view" which became the vantage point of the tourists. The look of the latter is somehow informed by paintings, engravings are titled and photographic representations.
"In 1857, Frederic Edwin Church painted from the Canadian side in a horizontal format, Niagara, his first huge panoramic view of Niagara Falls. This table sets abroad reputation as a leading American painter. American critics of the time like to emphasize the function of fulfilling the national icon that falls Niagara.Il is therefore not surprising that, trying to the same subject ten years later in favor of command lucrative ... The artist chooses a vertical format and a different perspective. The view is from Prospect Point seizure, the Mecca of tourist favorite artists since 1821. The artist relied on a test sepia, he had colored in oil. Church evokes the sublime sensibility with a religious background, by the scale of the work where tiny characters and the viewpoint contrasts with the towering waterfalls, foam and fog rendered vividly that dominate the rest, so to speak of the canvas, and the rainbow that unfolds over vegetation and rocks glistening in the foreground. " (Source: website of the exhibition)
Mount Holy Cross
Mount Holy Cross illustrates the religious dimension of this approach.
Thomas Moran; Mount Holy Cross; 1875, Oil on canvas.
The exhibition website offers the following comment "
" One could hardly imagine image from nature more explicitly than inspiring masterpiece of Thomas Moran. The real peak, which rises to four thousand two hundred meters in the central Colorado boasts on its south side a Latin cross pattern designed by the meeting of two beds of granite. The cross is fifteen thirty feet of snow in the hollow of its branches including the lower, long four hundred and fifty feet, is visible throughout the year. This is the Hayden Geological Survey who first surveying the mountain in 1873. Moran, who will accompany the mission the following year on purpose to make a "pilgrimage" to the mountain, will be the first to exploit the symbolism artistically by creating an allegorical image of the human aspiration to spiritual wholeness. While the composition leads the viewer's gaze toward the peak, a halo of clouds surrounding the cross, which calls out in the distance. Mount Holy Cross speaks of the promise and the divine blessing on the future of a nation divided a bloody conflict yesterday.
Photography and the Grand Canyon
photography like painting is part of this cultural construction of landscape. Note that many landscape paintings are done from photographs taken or not taken by the painter himself, also photographs, which require time to master the complex technology and heavy equipment, are framed, lit and drawn taking account of aesthetic rules from the paint.
lvin Langdon Coburn Grand Canyon, amphitheater; 1912, Platinum print.
The exhibition website states: "In September 1911, Alvin Langdon Coburn, Alfred Stieglitz and linked to taking the Photo-Secession group throughout the first decade of the twentieth century, ventures, with a guide in the Grand Canyon. He takes photographs of its edges and along the bad roads that go down to the bottom. Despite the hardships, "the solitary grandeur and terrible ... in the splendor of the stars" inspires.
This platinum print, where the tone of the medium intensifies the effect of emergence, is a magnificent study of the canyon to the raking light that creates monumental masses in a composition which affects the order abstract. "
Absence or presence of native Americans?
In these representations of American nature, Native Americans are represented in a way that corresponds to the problematic politics of the time. They may be absent: it underscores that while the territory was res nullius, legitimately appropriated by whites, or when their presence is very discreet: they blend into the landscape, characters' endangered "Including how to use nature will be supplanted by other forms of use.
Cornelius Krieghoff
Amsterdam 1815 - 1872 Chicago
Chippewa Indians on Lake Huron
1864Huile
on canvas Collection of Power Corporation of Canada's Web
Cornelius Kriegoff illustrates a more positive perspective on Native Americans, whose control over the Technical Datos ature are visible on the table. It also involved a different dynamic, that of the multiplication of images.
The website of the exhibition said: "Cornelius Krieghoff, a specialist scenes of French Canadian life and Amerindian Quebec, transforming its successful business in a quasi-industry serving a hungry market, particularly in Quebec and Ontario. The artist painted, with minor variations, no less than twenty-three versions of this group of hunters Chippewa preparing caribou they have just killed. The rock formation, it appears in other compositions of the artist. "
unseen A boat at Lake George
representation of Lake George by John F. Kensett shows a landscape of absolute quiet, away from the bustle of cities, where the trace of the presence of American Indians is almost undetectable.
John Frederick Kensett
Cheshire (Connecticut) 1816 - 1872 New York Lake George
1869 Oil on canvas. The Metropolitan Museum of Art, New York
"This masterpiece is a stage in the Adirondacks when John Frederick Kensett returned repeatedly between 1850 and 1872. Kensett himself attaches particular importance. The simplicity of the composition does that better reflects the power of the scale. The framework is a view from Crown Island with Mount Erebus in the distance erecting its mass small. For any character a Native American canoe from the rock before emerging on the right. Evocation of nostalgia, because long ago that Aboriginal people have virtually disappeared from the region. With a limited palette, its subtle and refined tonal ranges, and his party palpable atmospheric lighting, the composition is substantially, despite its monumentality, an intimate picture, meditative. "
These representations offer an interpretation of nature, they also help to set eyes on special places. They accompany the dévloppeent RECER uses of nature that fall within the development of the tourism industry.
(second part to follow)
I. The Making of the landscape, the American
The landscape painted, engraved or photographed is not a real copy of which existed previously. It is produced, socially and culturally, in specific historical contexts. The case of U.S. and Canadian landscape has been revisited in an exhibition held at the Museum of Montreal in the summer of 2009. The following data are from the catalog of this exhibition and website associated with it: Expanding Horizons. Painting and Photography of American and Canadian 1860 to 1918, Museum of Fine Arts of Montreal, 2009.
An important step in the "discovery" - it sounds like as the "invention" of the American landscape takes place between 1860 and 1918 in a context marked by the westward expansion, the affirmation of national identity and internal developments in the art field which results in new rules conceptualization and representation paysages.Nous will assume that the representations painted, engraved, photographs construsient a look that will then be one of the tourist, identifying special places whose images, reproduced in sériesn become "icons" of the new nation, and deveindront privileged places of the tourism industry. In this case the protecttion landscape will aim to coincide with the landscape Preel dream landscape.
can recognize several stages in the dynamics of movement. Painted representations of the years 1860-1880 seem to favor the wilderness, opened cpénétration by the white man and an invitation to interpret nature in terms of the "sublime." In 1872 the creation of Yellowstone National Park (1st U.S.) is the counterpart of the land surveying west. Park inaugurated a policy of nature reserves vested in recreational use of nature. Photography is also associated with advertising campaigns of the government for colonization of the west and to the action of the railway companies whose importance is essential in building these new nations. The Trans-Canada Railway "fact" really contemporary Canada. The railroad companies are diversifying the uses of photography which is used to celebrate the conquest of new spaces by the construction of the line, show new places obedient to the aesthetic of the sublime, and promote passenger traffic or tourism.
Some tables and photographs illustrate these particular episodes.
Yosemite Valley and the Sublime
The paintings by Albert Bierstadt Yosemite Valley and illustrate both the aesthetics of the sublime and perception tainted by ideology of the Western Lands. These are data to show as blank, close to the original nature, and offered to the white man in a divine plan.
Albert Bierstadt, Yosemite Valley , 1868, Oil on canvas 137.8 x 184.2 cm; Oakland Museum of California, Gift of Miss Margaret Laird in memory of Mr. and Mrs.. Laird PW; Inv. A64.46 Â
1830 -1902 Albert Bierstadt
S Internet site of the exhibition offers the following comment:
"Albert Bierstadt never tired of painting the Yosemite Valley. Having admired at an exhibition in New York in 1862, the photos taken by Carleton Watkins in the region, he went there the first time in 1863 and began the following year in the first run oil variées.Son monumental panorama (1865) first causes skepticism: the critical questions the veracity of the composition - accusing the artist of bombast and "monstrous stage landscape" - and denouncing the melodramatic action.
"Back in 1868 the theme, the view Eden Valley (in 1863, Bierstadt has characterized itself the site of the Garden of Eden) was probably completed in Rome. No man violates this vision of the wilderness; human presence as European Amerindian is banned from this exalted interpretation of a primeval splendor.
Albert Bierstadt canvas offers another in the same spirit. This time travelers from Europe are present in a peaceful atmosphere.
"It's an idyllic view, absolutely heavenly, with the characters. Before the collapse of monumental proportions, the artist bivouac and his companions from their horses graze. The U.S. State of the Union are at the heart of a crucial year and too bloody Civil War. The table refers not only beauty, peace and nobility of nature, but also the considerable promise of California, and by extension, of the Union.
Niagara Falls, American icon.
Niagara Falls are another American icon. The paintings of Frederic Edwin Church are painted from a "point of view" which became the vantage point of the tourists. The look of the latter is somehow informed by paintings, engravings are titled and photographic representations.
"In 1857, Frederic Edwin Church painted from the Canadian side in a horizontal format, Niagara, his first huge panoramic view of Niagara Falls. This table sets abroad reputation as a leading American painter. American critics of the time like to emphasize the function of fulfilling the national icon that falls Niagara.Il is therefore not surprising that, trying to the same subject ten years later in favor of command lucrative ... The artist chooses a vertical format and a different perspective. The view is from Prospect Point seizure, the Mecca of tourist favorite artists since 1821. The artist relied on a test sepia, he had colored in oil. Church evokes the sublime sensibility with a religious background, by the scale of the work where tiny characters and the viewpoint contrasts with the towering waterfalls, foam and fog rendered vividly that dominate the rest, so to speak of the canvas, and the rainbow that unfolds over vegetation and rocks glistening in the foreground. " (Source: website of the exhibition)
Mount Holy Cross
Mount Holy Cross illustrates the religious dimension of this approach.
Thomas Moran; Mount Holy Cross; 1875, Oil on canvas.
The exhibition website offers the following comment "
" One could hardly imagine image from nature more explicitly than inspiring masterpiece of Thomas Moran. The real peak, which rises to four thousand two hundred meters in the central Colorado boasts on its south side a Latin cross pattern designed by the meeting of two beds of granite. The cross is fifteen thirty feet of snow in the hollow of its branches including the lower, long four hundred and fifty feet, is visible throughout the year. This is the Hayden Geological Survey who first surveying the mountain in 1873. Moran, who will accompany the mission the following year on purpose to make a "pilgrimage" to the mountain, will be the first to exploit the symbolism artistically by creating an allegorical image of the human aspiration to spiritual wholeness. While the composition leads the viewer's gaze toward the peak, a halo of clouds surrounding the cross, which calls out in the distance. Mount Holy Cross speaks of the promise and the divine blessing on the future of a nation divided a bloody conflict yesterday.
Photography and the Grand Canyon
photography like painting is part of this cultural construction of landscape. Note that many landscape paintings are done from photographs taken or not taken by the painter himself, also photographs, which require time to master the complex technology and heavy equipment, are framed, lit and drawn taking account of aesthetic rules from the paint.
lvin Langdon Coburn Grand Canyon, amphitheater; 1912, Platinum print.
The exhibition website states: "In September 1911, Alvin Langdon Coburn, Alfred Stieglitz and linked to taking the Photo-Secession group throughout the first decade of the twentieth century, ventures, with a guide in the Grand Canyon. He takes photographs of its edges and along the bad roads that go down to the bottom. Despite the hardships, "the solitary grandeur and terrible ... in the splendor of the stars" inspires.
This platinum print, where the tone of the medium intensifies the effect of emergence, is a magnificent study of the canyon to the raking light that creates monumental masses in a composition which affects the order abstract. "
Absence or presence of native Americans?
In these representations of American nature, Native Americans are represented in a way that corresponds to the problematic politics of the time. They may be absent: it underscores that while the territory was res nullius, legitimately appropriated by whites, or when their presence is very discreet: they blend into the landscape, characters' endangered "Including how to use nature will be supplanted by other forms of use.
Cornelius Krieghoff
Amsterdam 1815 - 1872 Chicago
Chippewa Indians on Lake Huron
1864Huile
on canvas Collection of Power Corporation of Canada's Web
Cornelius Kriegoff illustrates a more positive perspective on Native Americans, whose control over the Technical Datos ature are visible on the table. It also involved a different dynamic, that of the multiplication of images.
The website of the exhibition said: "Cornelius Krieghoff, a specialist scenes of French Canadian life and Amerindian Quebec, transforming its successful business in a quasi-industry serving a hungry market, particularly in Quebec and Ontario. The artist painted, with minor variations, no less than twenty-three versions of this group of hunters Chippewa preparing caribou they have just killed. The rock formation, it appears in other compositions of the artist. "
unseen A boat at Lake George
representation of Lake George by John F. Kensett shows a landscape of absolute quiet, away from the bustle of cities, where the trace of the presence of American Indians is almost undetectable.
John Frederick Kensett
Cheshire (Connecticut) 1816 - 1872 New York Lake George
1869 Oil on canvas. The Metropolitan Museum of Art, New York
"This masterpiece is a stage in the Adirondacks when John Frederick Kensett returned repeatedly between 1850 and 1872. Kensett himself attaches particular importance. The simplicity of the composition does that better reflects the power of the scale. The framework is a view from Crown Island with Mount Erebus in the distance erecting its mass small. For any character a Native American canoe from the rock before emerging on the right. Evocation of nostalgia, because long ago that Aboriginal people have virtually disappeared from the region. With a limited palette, its subtle and refined tonal ranges, and his party palpable atmospheric lighting, the composition is substantially, despite its monumentality, an intimate picture, meditative. "
These representations offer an interpretation of nature, they also help to set eyes on special places. They accompany the dévloppeent RECER uses of nature that fall within the development of the tourism industry.
(second part to follow)
