Verbumars oecologica res oecologicas saepe comprehendit, sed eis proprium non est. Satis flexibile est ut primam huius motus historiam agnoscere possit (qui saepe notiones artis plus quam notiones oecologicas tractabat), atque artem cui sunt negotia satis turbatoris plebi et ars quae plerumque artificis coniunctionem cum natura celebrat, copiis rerum naturalibus utens.[1][2]
Verbumars oecologica in variis contextibus adhibetur: uti potest ad spectandam artem quae mundum naturalem describit, artem quae personale celebrat negotium cum mundo naturali ("ars in natura"), et usus artificium oecologicorum, quorum opus res circiumiectorum recte tractat,[3][4] per educationem de mundo naturali, vel reficiendum mundum naturalem.[1][2]Aviva Rahmani, artifex oecologica, aestimat: "Ars oecologica est ratio artis, saepe cum physicis, designatoribus urbanis, architectis, et aliis conlaborans, quae rectam interventionem in deteriore circumiectorum statu efficit. Artifex in ratione illa saepe est procurator ducens."[5][6]
Prima historica artis oecologicae exempla ex repraesentatione et pictura scaenarum nata sunt. Artifices, cum in situ pingerent, coniunctionem cum circumiectis et suo caelo penitus evolverunt et has observationes attentas in suis textilibus tulerunt. PicturaeIoannis Constablecaelum in natura accuratissime depingunt.[7][8]Series LondiniensisClaudii Monet coniunctionem artificis cum circumiectis etiam repraesentat: "Scaena mihi exsistit per se, quod aspectus semper commutatur; sed atmosphaera circumiecta eum ad vitam revocat, ad aerem et lucem, qui mihi continenter variant; sola atmosphera circumiecta pretium verum rebus dat."[9]
↑Anglice: "Ecological Art is an art practice, often in collaboration with scientists, city planners, architects and others, that results in direct intervention in environmental degradation. Often, the artist is the lead agent in that practice."
↑Anglice: "For me, a landscape does not exist in its own right, since its appearance changes at every moment; but the surrounding atmosphere brings it to life, the air and the light, which vary continually for me, it is only the surrounding atmosphere that gives subjects their true value" (House 1986:221).
Bibliographia
Beardsley, John. 1998. Earthworks and Beyond: Contemporary Art in the Landscape. Novi Eboraci: Abbeville Press. ISBN 0896599639.
Catalano, Gary. 1985. An Intimate Australia: The Landscape & Recent Australian Art. Sydneiae: Hale & Iremonger. ISBN 0868061263.
Gooding, Mel. 2002. Song of the Earth: European Artists and the Landscape. Londinii: Thames & Hudson. ISBN 0500510164.
Grande, John. 1994. Balance: Art and Nature. Londinii: Black Rose Books. ISBN 1551642344.
Grande, John. 2004. Art Nature Dialogues: Interviews with Environmental Artists. Novi Eboraci. ISBN 0791461947.
House, John. 1986. Monet: Nature into Art. Londinii: Yale University Press. ISBN 0300037856.
Kagan, Sacha. 2011. Art and Sustainability: Connecting Patterns for a Culture of Complexity. Bielefeld: Transcript Verlag. ISBN= 9783837618037.
Sonfist, Alan. 2004. Nature: The End of Art. Florentiae: Gli Ori,Dist et Thames & Hudson. ISBN 0615125336.
Thornes, John E. 2008. A Rough Guide to Environmental Art.Annual Review of Environmental Resources 33:391–411. DOI 10.1146/annurev.environ.31.042605.134920.
