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[continued]

‘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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[continued]

‘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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[continued]

‘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}[7^th 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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[continued]

‘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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[continued]

‘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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[continued]

‘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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[continued]

    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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[continued]

*

*[– ibid (Encyclopaedia of Visual Art) 753]

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[continued]

*

**

***

*’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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[continued]

*

**

***

*[Marginal note above:]

{64M~1808}

**[See next ts journal entry]

***[– ibid (Encyclopaedia of Visual Art) 753]

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[continued]

*

*[– ibid (Encyclopaedia of Visual Art) 753]

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[continued]

*

*[– 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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[continued]

*

**

*[Marginal note in ms:]

{[Redbook10:53][19910512:1718dm](Neoclassicism & Romanticism) ROMANTICISM [continued (24)] [Extracts from source text with ms notes][12th May 1991],} 53

**[– ibid (Encyclopaedia of Visual Art) 752-753]

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*

*[– ibid (Encyclopaedia of Visual Art) 752]

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[continued]

*

**

*[Marginal notes above:]

{m~)

{G~}***

{U~

J~}

**[– ibid (Encyclopaedia of Visual Art) 752]

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***[&/or g~, surely? – especially for Blake]

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