<abstract xmlns="http://www.w3.org/1999/xhtml"><p>The 18th-century notion of the picturesque is somewhat lesser known as compared to the more celebrated categories of the beautiful and the sublime, even though it may not only help us critically reflect upon modern perceptions of the landscape, but it may also provide us a unique way to link the field of aesthetic speculation with questions of technology and economy. The article will focus on two of the major theoreticians of the picturesque (William Gilpin and Uvedale Price) and will examine their ideas in relation to Edmund Burke’s aesthetics on the one hand, and contemporary tendencies in landscape gardening (as represented by Lancelot “Capability” Brown and Humphry Repton) on the other. Such an investigation may shed light on the multiple shifts in the perception of nature and the sense of naturalness during the long 18th century, as well as on the pictorial and theatrical aspects of landscape design. But examples of the Claude glass, the ha-ha, and Humphry Repton’s Red Books may also indicate the role of technological innovations and economic interests, and thereby the relevancy of the very discourse of the picturesque to more modern or even postmodern artistic, cultural, and medial developments.</p></abstract>

The 18th-century notion of the picturesque is somewhat lesser known as compared to the more celebrated categories of the beautiful and the sublime, even though it may not only help us critically reflect upon modern perceptions of the landscape, but it may also provide us a unique way to link the field of aesthetic speculation with questions of technology and economy. The article will focus on two of the major theoreticians of the picturesque (William Gilpin and Uvedale Price) and will examine their ideas in relation to Edmund Burke’s aesthetics on the one hand, and contemporary tendencies in landscape gardening (as represented by Lancelot “Capability” Brown and Humphry Repton) on the other. Such an investigation may shed light on the multiple shifts in the perception of nature and the sense of naturalness during the long 18th century, as well as on the pictorial and theatrical aspects of landscape design. But examples of the Claude glass, the ha-ha, and Humphry Repton’s Red Books may also indicate the role of technological innovations and economic interests, and thereby the relevancy of the very discourse of the picturesque to more modern or even postmodern artistic, cultural, and medial developments.

Screens of the Picturesque: Aesthetics, Technology, Economy

Acta Universitatis Sapientiae, Film and Media Studies

This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 License.

{"article-title":"Screens of the Picturesque: Aesthetics, Technology, Economy"}

The 18th-century notion of the picturesque is somewhat lesser known as compared to the more celebrated categories of the beautiful and the sublime, even though...

Screens of the Picturesque: Aesthetics, Technology, Economy

Pubblicato online: 03 apr 2021

Pagine: 35 - 48

DOI: https://doi.org/10.2478/ausfm-2021-0003

Parole chiave
picturesque, English garden, aesthetics, technology, economy

© 2021 György Fogarasi, published by Sciendo

This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 License.

Screens of the Picturesque: Aesthetics, Technology, Economy

Pubblicato online: 03 apr 2021

Pagine: 35 - 48

DOI: https://doi.org/10.2478/ausfm-2021-0003

Parole chiavepicturesque, English garden, aesthetics, technology, economy

© 2021 György Fogarasi, published by Sciendo

This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 License.

Parole chiave
picturesque, English garden, aesthetics, technology, economy