What does landscape mean?

When did landscape emerge as a genre in western culture?

Although paintings from the earliest ancient and Classical periods included natural scenic elements, landscape as an independent genre did not emerge in the Western tradition until the Renaissance in the 16th century.

When did classical landscapes emerge as a genre?

In the 17th century the classical landscape was born. These landscapes were influenced by classical antiquity and sought to illustrate an ideal landscape recalling Arcadia, a legendary place in ancient Greece known for its quiet pastoral beauty. In the Netherlands, pure landscape painting was more quickly accepted, largely due to the repudiation of religious painting in Calvinist society. Many Dutch artists of the 17th century specialised in landscape painting, developing subtle techniques for realistically depicting light and weather. In a classical landscape the positioning of objects was contrived; every tree, rock, or animal was carefully placed to present a harmonious, balanced, and timeless mood. 

What prompted the rise of landscape art during the late 18/19th century?

Landscape painting eventually gained prominence in the late 18th century with the rise of Romanticism, and often continued to carry a religious significance. Additionally, it became a method of self-expression, with the emotions of the painter and their appreciation of nature demonstrated in the painting. The invention of the tin tube for paint (1841) and the invention of the portable collapsible easel (in the mid-19th century) revolutionised the landscape genre by allowing artists to venture out of the studio and study and paint their subjects first hand.

When did landscape photography originate?

the earliest known evidence of a landscape photograph was taken between the years of 1826 and 1827. It was an urban landscape photo taken by a French inventor by the name of Nicephore Niepce.

For my first edit, I cut out an two images (using the quick selection tool) of a body I had previously photographed. I then dragged these cut outs onto a plain white piece of paper and searched on google for news articles of different assault cases. Once I found the one I wanted to use, I copy and pasted it onto photoshop and used ctrl t to move it. Finally, to highlight the theme of femininity and masculinity I added a photo filter to the bodies (one pink and the other blue).

I chose to make this edit in order to spread awareness of sexual assault. By the models in the image covering their body or facing away from the camera, it portrays the idea of women feeling they have to cover up their bodies in fear of being attacked, judged or harmed. Additionally, the use of the blue light (which is seen as a masculine colour) and the pink light (which is seen as a feminine colour) shows that both genders are equally at risk of sexual assault etc. Overall, I like how this edit came out as I feel it represents a serious topic whilst also showing the key theme of masculinity and femininity through the different coloured lighting and showing that both genders can experience these horrible things. However, if I were to improve this edit next time I would try and create a smoother blend between the bodies and the background or create a drop shadow on the bodies so they are purposefully pronounced.

For my next edit, I cut out two lip images and then a body image and then stuck them all onto one page. I then decided I wanted to highlight the theme of femininity even more and so created a colour splash in which the faces are all grey apart from the lips drawing attention to them and highlighting the idea of the male gaze, as lips can be seen as seductive and provocative. I created this colour splash by using the quick selection tool to go around the lips and then pressing layer via copy. I then clicked back onto the faces layer and changed them to black and white.

Overall, I think this edit was successful in showing the theme of femininity due to the body with minimal clothing and the red lips which are edited in a way that makes them stand out.

My next images were inspired by the artist Cindy Sherman. This first edit is referring to her photos in which captured a typical woman in the 1950s. However, I decided to photograph a stereotypical woman today. When I first thought of a stereotypical girl in 2024, I immediately thought of girls constantly being on their phones. So, I took photographs of different girls scrolling on their phone. For this edit, I cut out two of images I had taken and then copied them onto a blank piece of A4 paper. I then wanted to further highlight the idea of phones and social media so I got an image of different social media platforms from google and then pasted it onto the background (lowering the opacity so it didn’t look like such a harsh background). Finally, I created one version which had the models as black and white and then another with normal colour. I then added these two images onto an A3 piece of paper and created a black boarder around the two.

My next edit was also inspired by Cindy Sherman and her images called ‘This is how I look. I guess’. I created this by opening up an image of a boy I had taken previously and then opening up different images of girls and using the quick select tool to cut out different parts of the girl’s faces eg their eyes/ lips. To finish off this idea, I decided I wanted to emphasise the idea of different faces being cut out onto one face and so I decided to make the original face black and white whilst keeping the cut outs in colour. I also added a drop shadow to them.

Overall, I like how this edit came out as I think I managed to successfully recreate the work of Cindy Sherman and explore how a typical woman is seen today compared to the 1950s. However, in order to further this edit and make it look more like Cindy Sherman’s work next time, I would make sure the face is more zoomed in so there’s less background showing as it cam be a bit distracting.

For this edit, I was inspired by Marcelo Monreal who is known for placing flowers behind a person’s face which is cut out. In order to achieve this, I first used the quick select tool to cut out part of the model’s face and then pressed layer via copy. Next, I moved the person’s face to side slightly. I then searched on google for flower illustrations and selected pink flowers (in order to portray the theme of femininity) then pasted them onto my image and put them behind the cut out face. I repeated this step until I had a wide range of flowers. Finally, I created an image in which the main photograph was black and white and another where it is in colour.

Overall, I like how this final piece came out as I think it successfully combines elements of masculinity and femininity into one image. This can be seen in the flowers which are often associated as being a feminine thing and then the blue light which represents masculinity. If I were to do this edit again, I would use a boy model and then have flowers coming out of his head as this juxtaposes what people traditionally think of males and would portray the idea of it being okay for men to have feminine traits or likings.

For this edit, I wanted to create something more simpler and so decided to use an A3 template and then added 4 of my own images onto it. I decided to use two females and two males with a black background to go with the dark lighting seen in the images.

I like how this photograph defies typical stereotypes about men and women as the ‘girl’ coloured lights are reflected onto the male whilst the ‘boy’ coloured lights are reflected onto the female. The bottom image shows an insight into the confusion one can feel regarding their identity as seen in the use of both blue and pink lights surrounding her but no specific colour actually being on her. Her head being in her hand further emphasises this idea and gives off the sense of her being lost and overwhelmed. On the other hand, in the images of the boy he can be seen proudly putting on lipstick in pink light (both of which are traditionally seen as feminine things). Additionally, he is looking straight into the lens with purpose suggesting that he is comfortable with his identity and doesn’t feel he has to act in a certain way in order to be regarded as a man.

Finally, for this edit I opened up two images of lips that I had taken previously and then used the quick select tool to go around only the face and then pressed layer via copy. I dragged both of these cut outs onto a blank page and then made the background black. I then used the rectangular marquee tool in order to make a rectangle on my image. Next, I pressed layer via copy and then dragged the shape either to the left or right slightly. I repeated this step for each rectangle.

Overall, I think this image turned out alright in terms of trying something new on photoshop. However, if I were to do this idea again I would add a male to one side and a female to the other side then have the rectangles bringing the two closer to one another, showing that although we have many differences we are all the same and can have traits of the other gender without having to lose our own sense of identity.

Femininity and Masculinity Virtual Gallery:

Lighting Techniques and Diamond Cameo Virtual Gallery:

Environmental Portraits Virtual Gallery:

For this second photoshoot, I wanted to try and bring in an aspect of masculinity which I lacked in the previous photoshoot. I did this by photographing a boy and using a blue coloured light (which is typically seen as a masculine colour). I got the model’s to face in different directions and use their hands to make each image slightly different and more interesting to look at. I also decided to mix both femininity and masculinity together by getting a boy to apply lip gloss to his lips which is typically seen as a feminine thing. Finally, I took some body shots of a girl model on a chair posing in different ways.

In order to edit my images I used Lightroom. I adjusted the highlights, shadows, whites and blacks of each image until I was left with a final image I was satisfied with.

My Final Images:

Overall, I like how this photoshoot came out. I think I managed to intertwine both femininity and masculinity into one picture successfully as I used a pink light for the boy model which is seen as a feminine colour, and then a blue light for the girl models which is seen as a masculine colour. I also like the dark backgrounds with the spotlights of colour as it gives it a cinematic like feel to the images.

I like the image where the model’s head is in her hands with a pink and blue spotlight shining behind her at each side, symbolising how some people may feel lost and feel like they don’t specifically fit into one category. Additionally, I like how the images of the boy applying lip gloss came out whilst having a pink light projected onto him as it embraces the idea of not having to fit into a specific category and that its alright to have feminine features/things whilst still being masculine.

Clare Rae is an artist works in Melbourne, Australia. She  acknowledges the people of the Woi wurrung and Boon wurrung language groups on whose unceded lands she lives and works. She respectfully acknowledges their Ancestors and Elders, past and present.

In her photographic practice Clare explores ideas of performance and gesture to interrogate and subvert dominant modes of representation. Her work is informed by feminist theory, and presents an alternate and often awkward experience of subjectivity and the female body, usually the artists’ own.

Clare Rae engages photography, stop motion animation and performance to navigate and defy the limitations of the everyday environments she inhabits. Her works explore tension, portraying situations that offer alternative spatial and psychological interactions between the artist and the possibilities that are held in her surrounds.

Clare Rae’s aim through her photography is to subvert the dominant ways that we depict women’s subjectivity by getting various women to pose in weird, unnatural poses that goes against the stereotype of women having to look good and act in a certain way. Her work is informed by feminist theory, and presents an alternate and often awkward experience of the female body.

Clare Rae Inspired Photoshoot:

For this photoshoot, I went around school and took pictures of Liv in various awkward poses. She wore a flowy dress as many of Clare Rae’s images include a women wearing a skirt or dress and I wanted to recreate her images as closely as possible. I think this photoshoot successfully captured her in a way that goes against the typical stereotype of women where they’re expected to look put together and act in a certain way.

One thing I would improve next time is the lighting as some of the images are very dark which makes it harder to see the model. This is the complete opposite to Clare Rae’s work as she has good, bright lighting. Additionally, Clare Rae’s image typically include a white background or backgrounds that have quite a lot of negative space. However, my backgrounds are quite cluttered which takes away the attention from the model.

For this photoshoot, I focussed on femininity and capturing feminine features like lips and curves. When taking my photographs, I placed one light source behind my model in order to create a dark background, which would ensure that the focus will remain on the model rather then the background. I then had a light source in front of the model which created a spotlight effect, portraying the idea that women constantly feel as if they are in the spotlight and have to worry about their body etc due to the unrealistic standards set upon them, making them feel badly about themselves because of it.

In this photoshoot, I took pictures of different women’s bodies from a side on angle, front and behind. I took some images where the bodies were hidden by the model’s arms and some where they weren’t (portraying the idea that women should feel proud of their body and show it off). I also took pictures of a girl’s lips whilst applying lipstick which is seen as a feminine thing. Finally, I took some images of hands which had designs on the fingernails and then a necklace, both of which are also seen as feminine.

In order to edit these images, I used Lightroom in which I adjusted the exposure, contrast, highlights, shadows, blacks and whites of each photograph.

Overall, I like how this photoshoot came out as I think I managed to successfully highlight feminine features eg nails, lips with lipstick being applied onto it and different body types, which is what I was trying to achieve. Through this photoshoot, I feel as if I was also able to portray the struggle that many women go through surrounding their bodies and constantly comparing themselves to others or feel like they must hide it (hence I took some pictures where the model was using her arms to cover her body). However, I also wanted to make my photoshoot positive too and so took pictures in which the models embraced their body and didn’t cover it from the camera, portraying the message of self love and confidence.

Claude Cahun:

Claude Cahun was a French surrealist photographer, sculptor, and writer.  She is best known today for her surreal self-portrait photographs which show her dressed as different characters. Cahun staged images of herself that challenged the idea of the politics of gender which can be seen throughout her work.

Surrealism is defined as a 20th-century avant-garde movement in art and literature which sought to release the creative potential of the unconscious mind, for example by the irrational juxtaposition of images.

During the early 1920s, Claude Cahun settled in Paris with her lifelong partner Suzanne Malherbe, who adopted the name Marcel Moore. However, the two became step-sisters in 1917 after Cahun’s divorced father and Moore’s widowed mother married, eight years after Cahun and Moore’s artistic and romantic partnership began. For the rest of their lives together, Cahun and Moore collaborated on various written works, sculptures, photomontages and collages.

In 1937 Cahun and Moore settled in Jersey. Following the fall of France and the German occupation of Jersey and the other Channel Islands, they became active as resistance workers and propagandists. The two were very against war, and worked extensively together to produce anti-German fliers. Cahun and Moore’s resistance efforts were not only political but artistic actions, using their creative talents to manipulate and undermine the authority which they despised. Cahun’s life’s work was focused on undermining a certain authority; however, their activism posed a threat to their physical safety. As in 1944 Cahun and Moore were arrested and sentenced to death. However, the sentence was never carried out as Jersey was liberated from German occupation in 1945. Sadly, Cahun’s health never recovered from her treatment in jail and she died in 1954. Much of her and Moore’s work was destroyed by the Nazis who requisitioned their home.

Claude Cahun was born as Lucy Schwob in Nantes, France to a wealthy Jewish family. But in her late teens and early twenties Cahun had been looking for a new, gender-neutral name. She fixed on the name Claude Cahun in 1918.

gender fluidity is a non-fixed gender identity that shifts over time or depending on the situation. 

Here is one of Claude Cahun’s most famous pieces of work:

In this image you can see Cahun being doubled by a mirrored reflection. She is seen wearing gender neutral clothing and short hair which goes against what a typical woman was thought to look like, highlighting the idea of her gender neutrality. Mirrors were traditionally used in art in order to expose two enticing views of a female subject or as a way to emphasise a woman’s vanity. However, instead of Cahun looking into the mirror, she instead looks at the camera potentially conveying the message that she is rejecting the stereotype of women being consumed by self admiration. This could also be a symbol of her uncertainty about her own identity at the time as she maybe didn’t feel like the person she saw in the mirror. Additionally, Cahun shows two different personalities through the mirrored version of her and the actual version of her. This can be seen in the mirrored version in which her neck is exposed whereas the actual her has her jacket covering her neck. This can relate back to the traditional view in which mirrors were used to get flattering views of women, maybe suggesting that the mirror is what society sees of women but the non mirrored her is how she feels about her identity and how she doesn’t fit into that traditional self absorbed mindset. These two personalities being displayed in one picture gives us an insight into the divide one may feel within themself regarding their identity and belonging. Overall, I like how this image has a deeper meaning then to what is initially let on, as at first glance, it just looks like a mirror is used to reflect a person but as you look closer and see the differences between the mirrored person and actual person, you get an insight into her life and society at that time.

Cindy Sherman:

Cindy Sherman was born in 1952 and is an American artist who’s work consists primarily of photographic self portraits, depicting herself in many different contexts and as various imagined characters. Sherman was always interested in experimenting with different identities and has continued to transform herself, displaying the diversity of human types and stereotypes in her images. Sherman works in series, typically photographing herself in a range of costumes. To create her photographs, Sherman shoots alone in her studio, assuming multiple roles as author, director, make-up artist, hairstylist, wardrobe mistress, and model. Many of Sherman’s photo series, like the 1981 Centerfolds, call attention to stereotypes of women in society, films, television and magazines. 

In Sherman’s Imitation of Life series of 2016 she poses in vintage costumes and theatrical makeup, as a variety of ageing actress-like women. Much of Cindy Sherman’s work is based around the concept of the male gaze, with many photographs of women being feminine and showing off their body or wearing revealing items of clothing. This also gives us an insight into society at the time who mainly saw women as pretty objects that were used in the film industry simply to look enticing and get more public attention, not actually playing an important role in the films. 

In 1972, Sherman enrolled in the visual arts department at Buffalo State College  where she began painting. During this time, she began to explore the ideas which became a hallmark of her work: She dressed herself as different characters, cobbled together from thrift-store clothing. However, frustrated with what she saw as the limitations of painting as a medium of art, she abandoned it and took up photography.

I think this photograph successfully captures the idea of Cindy Sherman referencing to the male gaze, as the model is seen in a towel which could be perceived as provocative as most of the model’s skin is showing. This photograph could also link to Claude Cahun as she described women at the time as being absorbed with their looks which is what this image is supporting the idea of. This image encapsulates the idea of a stereotypical woman in the 1950s who is embracing her femininity and womanhood as she is looking into the mirror instead of looking the other way as seen in Claude Cahun’s image.

Cindy Sherman Inspired photoshoot:

For this photoshoot, I was inspired by Cindy Sherman and the idea of photographing a stereotypical woman in the world today and how it compares with the women from the 1950s who she photographed. When I first thought of a stereotypical woman today, I thought of a girl on her phone as that is a prominent part of society in the 20th century. So, I decided to take photographs of different girls on their phone. I also wanted to recreate the feminine, girly photographs Cindy Sherman took of women and so I took images of a girl applying lipgloss which is seen as a feminine thing. I also used a pink light in these images in order to enhance the theme of femininity.

Overall, I like how this photoshoot came out as I think I managed to successfully capture a stereotypical woman in 2024 and get some images that are feminine, which is what I was trying to achieve. To finish this photoshoot off, I may try and recreate one of Cindy Sherman’s photographs from her collection called ‘This is how I look. I guess’ in photoshop as a final outcome.

Femininity:

Masculinity:

Femininity is described as: qualities or attributes regarded as characteristic of women or girls. Traits traditionally cited as feminine include gracefulness, gentleness, empathy, humility and sensitivity, though traits associated with femininity vary across societies and individuals, and are influenced by a variety of social and cultural factors.

Masculinity is described as: a set of attributes, behaviours, and roles associated with men and boys. Masculinity is constructed and defined socially, historically and politically, rather than being biologically driven. The understanding of masculinity varies across time and socio-cultural contexts, and within groups and networks; and men also ‘perform’ their masculinity differently and inconsistently. 

Gender identity is a person’s innate sense of their gender. It is a person’s sense of being a woman, a man, both, neither, or anywhere along the gender spectrum. A person’s gender identity may be the same as or different from their birth-assigned sex.

Cultural identities are the distinct identities of people or groups in culture or subcultural categories and social groups. Categories that make up cultural identities include sexuality, gender, religion, ethnicity, social class, or geographical region.

Social identity refers to the ways that people’s self-concepts are based on their membership in social groups. Examples include sports teams, religions, nationalities, occupations, sexual orientation, ethnic groups, and gender.

Geographical identity is an individual or group’s sense of attachment to the country, region, city, or village in which they live.

Political identity is a form of social identity marking membership of certain groups that share a common struggle for a certain form of power. This can include identification with a political party, but also positions on specific political issues, nationalism, inter-ethnic relations or more abstract ideological themes.

Identity can be influenced by many things such as: place, environment and upbringing. 

Firstly, a person’s upbringing can influence their identity and how they view it as a whole for the better or the worse. For example, those who are bought up in a homophobic household or transphobic household may struggle with gender identity and consequently find it hard to express themselves later on in life as they have been surrounded by people who deem same sex relationships and trans people as ‘wrong’. This may lead to a person going through an internal battle in their head and trying to hide who they really are to the world in fear of being hated or judged. People may feel like they have to cover up who they really are in order to be accepted by society and therefore lose their sense of identity. Additionally, having a negative upbringing may also cause a person to act like those people and consequently be homophobic/ transphobic to other people as that is what they know as ‘right’. On the other hand, those who are bought up by parents who support lgbtq+ and trans people or are even same sex parents, their children are likely to be more acceptive of who they are and less likely to hide themselves from the world as they have been bought up in a setting in which they are encouraged to support and love everyone around them no matter what differences they may have. This can lead to an increased sense of identity. Lastly, upbringing can influence identity as those who are bought up with parents who have stereotypical ideas about the world eg same sex marriage is wrong, will then push those ideas onto their children causing them to believe this its wrong too. This may cause an internal war in the child’s head if they discover themselves to be attracted to the opposite sex etc as they would have been told their whole life how ‘bad’ it is and then feel ashamed to express how they feel to their family, resulting in them losing their sense of identity in order to fit in. 

Furthermore, environment can also influence a person’s identity and ability to express themself. For example, those who are in an environment which consists of predominantly white supremacist groups may believe that they are not worthy of having their own identity and that they should conform to the opinion of those around them as that is what is considered the norm. These opinions form a divide between the different races and could cause those who live in those areas who are a different race to feel unworthy and unable to express themselves as they will be rejected and outcast from society.  Whereas those who live in a supportive, multi race society are more likely to appreciate all races and will feel more comfortable in themselves to be able to express themselves however they want as they know they won’t be judged. 

Identity politics is politics based on a particular identity, such as race, nationality, religion, gender, sexual orientation, social background, caste, and social class.

Identity politics aims to reclaim greater self-determination and political freedom for marginalized people through understanding particular paradigms (a typical example or pattern of something) and lifestyle factors, and challenging externally-imposed characterisations and limitations.

Identity politics and the privilege lens has many good effects on society.  For example, it has made students more sensitive and attuned to each other, and attuned to structural discrimination and bias issues.  Students, teachers, and politicians who use the privilege lens are less likely to trade in generalisations and stereotypes of marginalised groups.  Because of these lenses, many do a better job creating atmospheres that are inclusive to individuals of a wide range of identity groups that have been marginalised or excluded from important conversations. 

However,  Identity politics and the privilege lens are often used as weapons to de-legitimise views based on identity and privilege instead of ideas.  Some of this is necessary to remind us that views develop in context but some of it is intended to rob people of a voice if you disagree with their perspective. For example, some people who are “straight, white, males” have voiced that their views are seen as less legitimate/ bigoted due to identity politics and the privilege lens, leaving to the majority of them remaining silent as to not be met with backlash.

Culture war is a conflict between groups, especially liberal and conservative groups, that have different cultural ideals, beliefs, or philosophies. There have been a number of conflicts about diversity in popular cultures occurring in the 2010s, such as the Gamergate controversy, Comicsgate and the Sad Puppies science fiction voting campaign.

Social media’s advancement in recent years has been a big factor in fomenting culture wars. Its highly advanced algorithm has demonstrated its ability to intensify people’s opinions. Researchers have been seeing a trend of increasing arguments over history, race, and gender because of this.

Researchers have differed about the scientific validity of the notion of culture war. Some claim it does not describe real behaviour, or that it describes only the behaviour of a small political elite. Others claim culture war is real and widespread, and even that it is fundamental to explaining Americans’ political behaviour and beliefs.

Immigration, race, alcohol, evolution, gender politics, and sexual morality all became major cultural battlefields during the 1920s. Wets battled drys, religious modernists battled religious fundamentalists, and urban ethnics battled the Ku Klux Klan.

Studies have shown that the rise of cultural groups is what leads to in-group bias, which is strongly correlated with polarisation. These cultural groups can form based on minor characteristics, but with time, populations develop associations between particular characteristics and particular behaviours, increasing covariation. Meaning that polarisation can bring people together but can also create prejudice between groups. Over the past couple of years, the public has seemed more inclined to feel prejudice towards those outside their social group and feel sympathy towards those who are in. 

Here I decided to experiment with my headshots I had taken previously. To do this, I first opened up a landscape, blank page on photoshop then used the bucket tool to make the page black. I then opened up the image I wanted to use and selected the quick select tool and went around the outline of the person. I then pressed layer via copy and dragged my cut out onto the black page. I repeated this step until I had the desired amount of people on my page. Next, I changed the opacity of some of the images to create the sense of depth. Finally, I went onto adjustments, cinematic and then experimented with giving my photographs a blue or sepia tone.