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*’Death approaches the town, the second plate in Alfred Rethel’s Another Dance of Death: 1849’
– ibid [(Encyclopaedia of Visual Art): 765]
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‘While largely historical in outlook, [medieval] revivalist illustration was also used to comment upon contemporary events by Alfred Rethel, especially in his “Another Dance of Death” (1849[ce]) in which the consequences of the 1848[ce] Revolution are depicted in the format and style of a 16th-century [ce] woodcut.’
*
* – ibid [(Encyclopaedia of Visual Art):] 765
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‘[John Constable (1776-1837[ce])] never saw the art of landscape as a mere matter of recording appearance. Not only was he fully aware of the impossibility of imitating nature precisely, but he also remained convinced of the emotionally beneficial effects of his art. The calm lyricism of “The Hay Wain” reflected his fond memories of the countryside of his Suffolk childhood rather than the strife-ridden mural world of the 1820s, in the grips [sic] of an economic recession. In later life, when his Wordsworthian delight in the Natural had darkened under the strain of such losses as the death of his wife (1829[ce]), he sought catharsis for his sadness in such stormy handling as that of the sketch for Hadleigh Castle (1829[ce]; Tate Gallery, London).
“How for some wise purpose is every bit of sunshine clouded over in me. Can it be wondered at that I paint continual storms ‘Tempest o'er tempest rolled’? Still the darkness is majestic and I have not to accuse myself of ever having prostituted the moral feeling of Art… My canvas soothes me into a forgetfulness of the scene of turmoil and folly and worse."
(Leslie, C.R. "Life of Constable", 1843[ce])’
*
* – ibid [(Encyclopaedia of Visual Art):] 762-763
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**
*[Text continues:] …became more spontaneous under the influence of the naturalist movement. Yet he still maintained a sense of reverence before nature by means of such devices as the inclusion of figures in the foreground staring towards the distance (for example, Moonrise over the Sea, 1822: Nationalgalerie, West Berlin).’
** – ibid [(Encyclopaedia of Visual Art):] 761-762
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*
*[‘The longer lived Friedrich…’ – see last previous ts journal entry]
**[ – ibid (Encyclopaedia of Visual Art): 761]
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**
*[Marginal notes above:]
[Simple cycle/wheel diagram as shown above]
C
C |
|
|
|
\ |
|
|
|
s~ |
[The backward-sloping line represents a diagonal arrow in the marginal note reproduced above]
**[ – ibid (Encyclopaedia of Visual Art): 761]
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‘The greatest landscape painter of the period, J.M.W. Turner (1775-1851), encompassed both within his art. A truly protean figure, his vast output ranged from the quietest & most intimate moments to the wildest of storms. It is true, as Ruskin remarked, that Turner dwelt on these two extremes rather than on the middle ground, but there is more than exaggeration and showmanship in his work. For in his exploration of effect he moved beyond mere descriptiveness to the discovery of more vivid forms of pictorial equivalents. In his last years in particular he conveyed his atmospherics through the juxtaposition of pure colors and freedom of handling unrivaled before the advent of abstraction.’
*
*{– ibid [Encyclopaedia of Visual Art]: 759}
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‘In landscape painting this* led in two seemingly contradictory directions: the exploration of the visionary or dramatic, evident in the works of Samuel Palmer, John Martin, and Caspar David Friedrich, and a close study of the appearance of local scenes, as in the works of Constable & the French Barbizon painters.’
**
*[See last previous ts journal entry]
**{– ibid [Encyclopaedia of Visual Art]: 759}
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‘During the Romantic movement landscape painting* emerged as one of the most important genres. This was partly a legacy of the veneration of the Natural inspired by the philosopher Jean-Jacques Rousseau (1712-78); but added to this was the pantheistic belief – so evident in the poetry of William Wordsworth (1770-1850) – that intimations of the Divine could be found in the workings of nature, & the observation that the moods of man could be reflected in its forms – later censured by Ruskin as the "pathetic fallacy".’**
***
*(cf IX: [[Redbook9:198-200][19910428:0955l]{Utopian Landscapes}*[28th April 1991]ff] ….
(re landscapes & utopias)
**{cf
Vol II: [eg[Redbook2:261][19821107:2300]{[1] Weather}[7th November 1982]ff,] … (19821101-21c[irca])
Vol [4] … [] …. (198710….) [Reference not found;
but see [Redbook4:245-246][19871220:0000c]{The Weatherman}[20th December 1987]]
}
***{ – ibid [Encyclopaedia of Visual Art]: 759}
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‘While most Romantic figure painters sympathised with the fantasy and spirituality of the Gothic, the Romantic period also was an attempt to revive more thoroughly the pictorial principles of the Middle Ages.’
*
(eg the German ‘Nazarenes’ in Rome).
*– ibid [Encyclopaedia of Visual Art]: 758
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‘In portraiture, too, there was an increasing emphasis on mood. The darkening tone of Goya's late portraits witnessed not only the artist's changing disposition but also a growing cult of melancholy.’
*
(examples 1805, 1808)
* – ibid [Encyclopaedia of Visual Art: 757]
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‘The interest in the passions gave a new significance to animal painting.’* (eg Stubbs, James Ward).
* – ibid [Encyclopaedia of Visual Art]: 757
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Gericault’s ‘The Raft of the Medusa’ (1819; Louvre. Paris) ‘was an academic tour de force. Yet it moved outside the conventions of history painting by depicting a scene without a hero, and by representing the whole with a lurid pallor more nauseous than cathartic.’
*
* – ibid [Encyclopaedia of Visual Art]: 755-756
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*[– ibid (Encyclopaedia of Visual Art) 753]
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**
***
*’Third of May, 1808’ by Goya; oil on canvas; 266x345cm (105x136in); 1814. Prado, Madrid
**[See last previous ts journal entry]
***[– ibid (Encyclopaedia of Visual Art) 752]
[This reproduction from Wikipedia]
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*
**
***
*[Marginal note above:]
{64M~1808}
**[See next ts journal entry]
***[– ibid (Encyclopaedia of Visual Art) 753]
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*[– ibid (Encyclopaedia of Visual Art) 753]
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*[– ibid (Encyclopaedia of Visual Art) 753]
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