Andere Kunden interessierten sich auch für
![Mapping the Multicoloured Inukshuk in Canada's Multicultural Landscape]( "Mapping the Multicoloured Inukshuk in Canada's Multicultural Landscape")
Mapping the Multicoloured Inukshuk in Canada's Multicultural Landscape32,99 €![The Jesuits¿ influence on the imagery decoration of porcelain during the Yongzheng reign]( "The Jesuits¿ influence on the imagery decoration of porcelain during the Yongzheng reign")
The Jesuits¿ influence on the imagery decoration of porcelain during the Yongzheng reign15,95 €![Pictorial Narrative in the Romanesque Cloister]( "Pictorial Narrative in the Romanesque Cloister")
Pictorial Narrative in the Romanesque Cloister75,95 €![Printed Images by Australian Artists, 1885-1955]( "Printed Images by Australian Artists, 1885-1955")
Printed Images by Australian Artists, 1885-195587,99 €![Hsiao Chin and Punto: Mapping Post-War Avant-Garde]( "Hsiao Chin and Punto: Mapping Post-War Avant-Garde")
Hsiao Chin and Punto: Mapping Post-War Avant-Garde38,99 €![Imago Triumphalis]( "Imago Triumphalis")
Imago Triumphalis77,40 €![Rattling Spears: A History of Indigenous Australian Art]( "Rattling Spears: A History of Indigenous Australian Art")
Rattling Spears: A History of Indigenous Australian Art55,99 €
The purpose of this book is to analyse and discuss the use of aerial or mapping perspective in Australian landscape imagery from 1945-2010. The growing awareness of American Abstract Expressionism in Australia in the 1950s saw a period of landscape painting and photography that changed the way artists worked with the landscape motif. This allowed a unique representation of landscape that was no longer an adaption of a European tradition. This fresh approach to an established genre of artistry was made possible by the flattening of the picture plane and the absence of linear and atmospheric perspective as notated in the 15th century by Leonardo Da Vinci, Filippo Brunelleschi, Leon Battista Alberti and others. My study of ancient and contemporary Aboriginal art, using a mapping viewpoint, prompted my investigation into non-indigenous artists who also used this method in their work between 1945-2010.