Tuesday, May 30, 2006
Monday, May 29, 2006
The RA magazine has an article by Jenny Uglow on Ruisdael to accompany the exhibition here.
Sunday, May 21, 2006
Saturday, May 20, 2006
Friday, May 19, 2006
‘There was a slight stretch of open country to cover before reaching Othys. The village spire was already visible on the bluish hills that extend from Montméliant to Dammartin. The Thève was once again burbling over rocks and pebbles as it dwindled to a narrow stream near its source – where it rests among the meadows forming a small pond amid irises and gladioli’.
Monday, May 15, 2006
Like Howard Hodgkin, Jean-Baptiste Camille Corot was an artist who, at least in his later work, painted memories of landscapes rather than views. This is suggested in titles like Memory [Souvenir] of Coubron (above) and many others: Souvenir de Mortefontaine, de Sologne, de Toscane, du lac d'Albano, de Castelgandolfo... Michael Clarke (Corot and the Art of Landscape) calls such painting an art of ‘reflection and reminiscence’ and compares it to the poetry of Lamartine and de Musset, who also used the term ‘Souvenir’ in their titles. Indeed ‘Corot’s The Shepherd Star of 1864 was possibly inspired by lines by de Musset, of whom the artist recalled "Ah! Musset what a poet… He also has greatly suffered. He took notice of me in the past when none recognized me. I owe him a debt of gratitude."’
Sunday, May 14, 2006
Friday, May 12, 2006
- landscape reduced to exquisite, almost abstract detail in the paintings of Monet and Augusto Giacometti;
- landscape sanctified or mystical, archaic or primordial, as in the work of symbolists like Ferdinand Hodler;
- unreal expressionist landscapes, both pastoral and apocalyptic, like Franz Marc’s gentle Horse in Landscape (1910) and violent
- landscape reduced to fragments in the Modernist city, in the work of artists from Seurat to Leger, and symbolised by Corbusier’s Pavilion de l’Esprit Nouveau (1925) in which a single tree integrated into the design points to the containment and absence of nature.
Wednesday, May 10, 2006
Monday, May 08, 2006
Sunday, May 07, 2006
In the preface to his book on Japanese Linked Verse Earl Miner discusses the way Japanese poems are affective - responses in words to something moving – and that recipients of poems would in turn be moved by the way these emotions had been expressed. The same principle applies to landscape paintings. For example, in The Tale of Genji, the sketches and poetic descriptions Genji made during his exile in Suma move Prince Hotaru almost to tears. Miner relates this affective-expressive mode to two terms: ‘”kokoro” means heart, mind, or spirit – the human capacity to be affected and to understand. “Kotoba” means words, languages, signs, or techniques – the human capacity to make known to others what has been gained by kokoro… Not to possess kokoro was to be barbarian, worse than animals. The warbler among plum blossoms, the frog in summer waters, the stag crying for a mate in autumn – all were poets. All gave voice to experience. Thus being moved and being led to expression defined poetic activity. In addition these animal singers and criers moved one to respond in poetry, just as would the poem of a friend.’ So it is not simply that landscape views provoke an emotional response; the possessor of kokoro will literally be spoken to by the natural world.
Saturday, May 06, 2006
Michi no be ni
Shibashi tote koso