"Artists with Axes"
While their paintings and photographs sometimes helped to secure the protection of particular places, nineteenth-century artists often showed little respect for the environment when they set about securing their views.
While their paintings and photographs sometimes helped to secure the protection of particular places, nineteenth-century artists often showed little respect for the environment when they set about securing their views.
The High Coast in north-eastern Sweden has become a popular tourist site annually attracting hundreds of thousands of visitors from throughout the world. Its environment is not only considered pleasing from a recreational aspect, but also of extraordinary intrinsic value.
What can works of landscape art tell us about past ecologies? This article describes a pilot study in which a method for systematically recording the aesthetic, ecological and environmental content of landscape artworks was investigated.
T. J. Demos, reader in modern and contemporary art at University College London, provides an overview of how relationships between contemporary art, ecology and concepts of sustainability have evolved over the last fifty years.
Does it make sense to say that one should not, or ought not, take pleasure in certain objects or events within the natural environment? Cheryl Foster explores ethical constraints on aesthetic activity and appreciation.
Keekok Lee examines the National Trust’s decision to restore Yew Tree Tarn in UK’s Lake District, and argues that while aesthetics is important, it cannot form the basis of an adequate environmental philosophy.
Emily Brady puts forward a model of aesthetic appreciation based on disinterestedness, as an alternative to what she calls the hedonistic model..
Jay Appleton addresses the apparent difficulty experienced by philosophers in applying the methodology of art criticism to the aesthetics of nature and uses the idea of “narrative” to explore it.
Ronald Hepburn discusses the aesthetic appreciation of nature, arguing that not all humanising falsifies, and that we can respect nature as well as annex its forms and expressive qualities in our aesthetic appreciation.
In this paper, David E. W. Fenner explores some parallels and dissimilarities between aesthetic appreciation that takes as its focus art objects and that which focuses on natural objects.