Ethics and the Environment 13 (1):pp. 105-119 (2008)

The picturesque is usually interpreted as an admiration of 'picture-like,' and thus inauthentic, nature. In contrast, this paper sets out an interpretation that is more in accord with the contemporary love of wildness. This paper will briefly cover some garden history in order to contextualize the discussion and proceed by reassessing the picturesque through the eighteenth century works of Price and Watelet. It will then identify six themes in their work (variety, intricacy, engagement, time, chance, and transition) and show that, far from forcing a 'picture-like' stereotype on nature, the picturesque guided the way for a new appreciation of wildness—one that resonates with contemporary environmental philosophy.
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DOI 10.2979/ETE.2008.13.1.105
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References found in this work BETA

The Aesthetics of Environment.Arnold Berleant - 1995 - Temple University Press.
Eco-Phenomenology: Back to the Earth Itself.Charles S. Brown & Ted Toadvine (eds.) - 2003 - State University of New York Press.
The Aesthetics of Environment.Arnold Berleant - 1994 - Journal of Aesthetics and Art Criticism 52 (4):477-480.
What Gardens Mean.Stephanie Ross - 1998 - University of Chicago Press.
Eco-Phenomenology: Back to the Earth Itself.Benjamin Hale - 2005 - Human Studies 28 (1):101-106.

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Citations of this work BETA

Environmental Aesthetics.Allen Carlson - 2008 - Stanford Encyclopedia of Philosophy.
Aesthetic Appreciation of Nature and Environmentalism.Allen Carlson - 2011 - Royal Institute of Philosophy Supplement 69:137-155.
A Deweyan Defense of Guerrilla Gardening. Ralston - 2012 - The Pluralist 7 (3):57-70.

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