European Painting

William Hodges opened the imagination of Europe in the South China Sea in the 18th century. His exotic and delicate landscape transcended Europe and changed the perception of the European world and lighted the desire for paradise of Western colonialism (Quilley 2004, 1-4). Marking the starting point from the classical landscape tradition is Hodges' air technology incorporating a mysterious image into the outdoor natural light and the rich and impressive beauty unique to the Southern Hemisphere.

The concept of cultural landscape can be found in the tradition of European landscape painting. Since the 16th century, many European artists have created landscapes that will benefit people and are reducing the number of people in their paintings to those included in a particular landscape in a wider area. Geographer Otto Schulter was highly appreciated for the first time officially used "cultural landscape" as an academic term in the early 20th century. In 1908, Schlüter argued that by defining geography as Landschaftskunde (landscape science), geography could be a logical subject that could not be shared in other disciplines. He defined the landscape in two forms: the landscape that existed before Urlandschaft (primitive landscape) or the great change of humanity and Kulturlandschaft (transl. "Cultural landscape"), created by human culture Landscape. The main task of geography is to keep track of these two landscape changes.

Part of romanticism in painting comes from the genre that depends on European landscape images to depict the American neoclassicalism, American continent as a wonderful land. Through landscape paintings, artists focused on the advantage of white settlers and wrote creative myths for America. These paintings ride on horses and arrive at their promised land, featuring European explorers who are searching for noble barbarians and untouched nature. This type of artist gives a privileged role to the American elite and perfects white discovery and wilderness settlements by recalling images of classical paintings. Two pictures of Albert Bierstadt hanging in the Parliament House reflect the style of this painting through the depiction of white explorers and tribes of indigenous peoples. Both paintings are based on the magnificent image of European Pretoria painting, but the background of the wilderness is purely American.

In the painting by Thomas Cole in 1836, Oxbo (Connecticut river near Northampton), tension between the wilderness and the garden, barbarism and civilization were visually recorded. The status of the physical location. The brutality of the Arashi cloud in the American wilderness retreated the cultivated landscape of civilization and progress. And as Cole's scholar William Crohn suggested, "Lazy turn of the big bull's-eye is reminiscent of the birds floating at the end of the storm - we can see the shape of the question mark: it's everywhere The concern expressed in the paintings of the? Call reflects the discussion among Americans. Does the wilder completely disappear for civilization, or is there a tension between them forever?