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building the american landscape - Univerza v Novi Gorici

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<strong>the</strong> influence of nature. The illusory realism usually produced by large works fired<br />

public curiosity and spread <strong>the</strong> values considered nowadays as ecological.<br />

However, <strong>the</strong> sceneries of New England belonged to <strong>the</strong> artists, those of <strong>the</strong> West<br />

were spaces privileged by photographers. Knowledge of <strong>the</strong> <strong>landscape</strong> of <strong>the</strong><br />

frontier was consolidated, in fact, by <strong>the</strong> technical evolution and by <strong>the</strong> introduction<br />

of stereometric photography which, from halfway through <strong>the</strong> nineteenth century<br />

onwards, began to support exploratory expeditions.<br />

Thanks to <strong>the</strong>ir rapid diffusion, photographs were not restricted to scientific<br />

documents or support for cartography, but became true means of communication<br />

of an aes<strong>the</strong>tics, which presented <strong>the</strong> general public with <strong>the</strong> opportunity to<br />

contemplate <strong>the</strong> conquest of <strong>the</strong> West through its <strong>landscape</strong> and fired <strong>the</strong> creation<br />

of a national spirit. The partnership begun at <strong>the</strong> end of <strong>the</strong> 1860s between <strong>the</strong><br />

geologist Clarence King (1842‐1901) and <strong>the</strong> photographer Timothy O’Sullivan<br />

(1840‐1882) during <strong>the</strong> expedition along one of <strong>the</strong> transcontinental routes to<br />

territories between <strong>the</strong> Sierra Nevada and <strong>the</strong> Rocky Mountains, was indicative of<br />

what has been said so far. O’Sullivan’s photographs not only removed <strong>the</strong> symbolic<br />

world of maps from an arbitrary interpretation, but above all <strong>the</strong>y made all <strong>the</strong><br />

operations to give <strong>the</strong> explored territories precise and immediately verifiable<br />

topographical names. They also became a useful tool to divulge <strong>the</strong> results of <strong>the</strong><br />

expeditions. The realism of <strong>the</strong> photograph, capable of rapidly immortalising <strong>the</strong><br />

subject from different viewpoints, gave <strong>the</strong> observer an emotional charge which<br />

gave <strong>the</strong> illusion of <strong>the</strong> journey.<br />

Fur<strong>the</strong>rmore, <strong>the</strong> tragic nature represented by some <strong>landscape</strong> aspects of <strong>the</strong><br />

territories that had been crossed increased interest in <strong>the</strong> Wild West, and even fired<br />

some popular catastrophic convictions about <strong>the</strong> origin of <strong>the</strong> world.<br />

The vision of wide <strong>landscape</strong>s certainly influenced those who were in direct contact,<br />

but it probably influenced even more strongly those who had never had a chance of<br />

living at <strong>the</strong> frontier and of going through <strong>the</strong> anguish of <strong>the</strong> precarious existence<br />

transmitted by an environment, which had, until a short time before, been<br />

uncontaminated.<br />

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