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omar faruk
31 de jul. de 2022
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They can become poets in painting, seeking dynamism and drama; or they can decide to stick to the subject in front of them and explore nature with full force and fidelity. But no matter how great the reputation these Romantic painters enjoyed at the time, I still believe that those who followed Constable's path, to discover the visible world without summoning poetic situations, had the more important and permanent Achievement. [4] This kind of praise for Constable, in fact, is not unique to Gombrich. In the arguments of Frye, an earlier generation of British critics, formalist aesthetics and Cezanne's admirers, it has been shown. Frye gave two lectures in 1934 at the "Exhibition of British Art" (c.1000-1860) held at the then Royal Academy of Arts in London, which was later published as "Reflections on British whatsapp database Painting". The book, which ends with Constable, sees it as an important milestone in Western painting's gradual "discovery of appearances," as a bridge between 17th-century Dutch painting and late 19th-century French Impressionism. The same point of view also appeared in the book "Landscape into Art" by another British art historian, Kenneth Clark (1903-1983), who was of the same generation as Gombrich. Originally a transcript of Clark's speech as the Slade Professor of Fine Art at Oxford University, the book was first published in 1949, just a year before Gombrich's Story of Art. [5] "Landscape into Art" and "Story of Art" both take European art as the overall scope of observation, but specifically take "landscape painting" as the object, becoming the first monograph on Western landscape painting. After describing the types of "symbolic landscape", "factual landscape", Fantasy landscape" and "ideal landscape" experienced from the Middle Ages to the end of the 18th century, Chapter 5 "The Natural Vision" (The Natural Vision) Vision)”, with Constable as the first protagonist, who believes that he has “many sparkling seaside scenes that are the most ‘impressionist’ works, and clearly predict Manet, Whistler and Wilson.・The Appearance of Steele". [6] [Figure 4] In the same chapter, the French landscape painters who were influenced by Constable, especially the Barbizon school painters Rousseau and Corot, followed by the realist Courbet, and finally the Impressionists.
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