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Look at the landscape paintings and answer the questions below.

 

The Thunderstorm/ The Frightened Wagoner (1832) by James Arthur O’Connor (1792-1841)

The Thunderstorm/ The Frightened Wagoner (1832) by James Arthur O’Connor (1792-1841) is a scene of human dilemma and the power of nature. Courtesy of the National Gallery of Ireland

Photo (c) National Gallery of Ireland
The Thunderstorm/ The Frightened Wagoner (1832) by James Arthur O’Connor (1792-1841)
Photo (c) National Gallery of Ireland

The Thunderstorm/ The Frightened Wagoner (1832) by James Arthur O’Connor (1792-1841)

The Thunderstorm/ The Frightened Wagoner (1832) by James Arthur O’Connor (1792-1841) is a scene of human dilemma and the power of nature. Courtesy of the National Gallery of Ireland

Photo (c) National Gallery of Ireland
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Lucan House and Demesne, County Dublin (c.1773-75) by Thomas Roberts (1748-78)

Thomas Roberts (1748-78), Lucan House and Demesne, County Dublin (c.1773-75). This painting places the big house at the centre of a benign, well-ordered and productive landscape, suggesting that the social order was a mirror of the natural order. Courtesy of the National Gallery of Ireland

Photo (c) National Gallery of Ireland
Lucan House and Demesne, County Dublin (c.1773-75) by Thomas Roberts (1748-78)
Photo (c) National Gallery of Ireland

Lucan House and Demesne, County Dublin (c.1773-75) by Thomas Roberts (1748-78)

Thomas Roberts (1748-78), Lucan House and Demesne, County Dublin (c.1773-75). This painting places the big house at the centre of a benign, well-ordered and productive landscape, suggesting that the social order was a mirror of the natural order. Courtesy of the National Gallery of Ireland

Photo (c) National Gallery of Ireland
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The Little Green Fields (1945) by Gerard Dillon (1916-1971)

The Little Green Fields (1945) by Gerard Dillon (1916-1971) shows the small fields bounded by stone walls, that typified the west of Ireland. In each section, Dillon places symbolic characteristics of Irish culture, like potatoes or high crosses. The child-like ‘naïve’ style is a deliberate method of suggesting a simple, unsophisticated, and unspoiled way of life. Courtesy of the National Gallery of Ireland

Photo (c) National Gallery of Ireland
The Little Green Fields (1945) by Gerard Dillon (1916-1971)
Photo (c) National Gallery of Ireland

The Little Green Fields (1945) by Gerard Dillon (1916-1971)

The Little Green Fields (1945) by Gerard Dillon (1916-1971) shows the small fields bounded by stone walls, that typified the west of Ireland. In each section, Dillon places symbolic characteristics of Irish culture, like potatoes or high crosses. The child-like ‘naïve’ style is a deliberate method of suggesting a simple, unsophisticated, and unspoiled way of life. Courtesy of the National Gallery of Ireland

Photo (c) National Gallery of Ireland
Enlarge image
 

Banks of the Seine (1860) by Nathaniel Hone (1831-1917)

Banks of the Seine (c.1882) by Nathaniel Hone the Younger (1831-1917) Courtesy of the National Gallery of Ireland

Photo (c) National Gallery of Ireland
Banks of the Seine (1860) by Nathaniel Hone (1831-1917)
Photo (c) National Gallery of Ireland

Banks of the Seine (1860) by Nathaniel Hone (1831-1917)

Banks of the Seine (c.1882) by Nathaniel Hone the Younger (1831-1917) Courtesy of the National Gallery of Ireland

Photo (c) National Gallery of Ireland
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Farm at Lezaven (1894) by Roderic O’Conor (1860-1940)

Roderic O’Conor (1860-1940), Farm at Lezaven (1894). This work demonstrates O’Conor’s experimental use of colour and form. Courtesy of the National Gallery of Ireland

Photo (c) National Gallery of Ireland
Farm at Lezaven (1894) by Roderic O’Conor (1860-1940)
Photo (c) National Gallery of Ireland

Farm at Lezaven (1894) by Roderic O’Conor (1860-1940)

Roderic O’Conor (1860-1940), Farm at Lezaven (1894). This work demonstrates O’Conor’s experimental use of colour and form. Courtesy of the National Gallery of Ireland

Photo (c) National Gallery of Ireland
Enlarge image

  1. What is happening in the pictures?
     
  2. What objects seem far away in the pictures? How do you think the artists made them seem far away?
     
  3. What do you like most about these paintings?
     
  4. Is there anything you don't like about these paintings?
     
  5. Pretend that you are inside the pictures. How do they make you feel?
     
  6. If the paintings could have sound as well, what would it be?
     
  7. Why do you think the artists made these paintings? What makes you think this?