Word: lande
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Dates: during 1990-1999
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...tradition. Both continents in the 19th century were still largely wilderness. So how did the painting of wilderness, and of its ordering, play out in both places? What kinds of values were assigned to landscape by the respective artists? What images arose from the colonists' desire to claim the land, to "humanize" it, to put their stamp on it? How did the white invaders see the native peoples--American Indians on one continent, Aborigines on the other--and what did they feel about their destruction...
Still, in early Australia as in America, what artists' clients wanted was the imagery of success and progress in claiming and settling the land. Early 19th century Australian painters, like their counterparts in America, thus showed little interest in painting the wild--until it became a tourist sight. They did farms, villages, settled acres--images that would attract new settlement...
...theme in Australia was John Glover (1767-1849), who settled in Tasmania at the ripe age of 64. He was a mediocre professional who knew, and sedulously imitated, the work of Claude Lorrain. But in Australia he did the best work of his life, celebrating the pastoral delights of land ownership and commemorating the Aborigines, whose way of life was being inexorably destroyed by white farmers like him. No painter in Australia ever committed himself as wholeheartedly to recording the life of Aborigines as, say, American artist George Catlin did to that of Indians. But Glover clearly meant The Last...
...paint vigorous narratives of national identity, of hard, challenging work in the bush: A Break Away!, 1891, his rendering of young jackeroos (Australian for cowboys) galloping furiously to head off a stampeding mob of sheep, remains a national icon a century later. Streeton painted not wilderness but settled pastoral land, framed by vast space. In The Purple Noon's Transparent Might, 1896 (the title is from Shelley: culturally, England still bore strongly on these highly nationalist artists), the high-keyed light and crisp, decisive brushwork create a broad, deep and coherent space brimming with heat...
...plans (HCPs) with landowners under the Endangered Species Act. The fact is, Congress created the HCP process to reduce conflicts between listed species and economic development. HCPs do provide for long-term conservation of species. HCPs allow us to rely on protected habitats for species across wide tracts of land for years to come, which helps in planning recovery of species covered by HCPs. JAMIE RAPPAPORT CLARK, Director Fish and Wildlife Service U.S. Department of the Interior Washington