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Brushes with Infidelity: Truth to Nature in Three Composite Landscapes by Eugene von Guérard
Art History Pub Date : 2017-04-03 , DOI: 10.1111/1467-8365.12286
George Hook

As German landscape painting increasingly focused on ‘truth to nature’ in the first half of the nineteenth century, an earlier tradition of idealizing landscapes by combining scenes from different locations for compositional, poetic or symbolic purposes gave way to the science of landscape painting. Intense observation and accurate recording were required to portray creatively the essential nature of an environment. Although most of Eugene von Guerard’s Antipodean landscapes are non-idealized, he may have painted a handful of idealized scenes in which topographical, geographical, geological and ecological elements from disparate landscapes are combined. This essay addresses the compositional development of three such ‘problematic’ paintings. Sketches and sites are investigated using a multidisciplinary, science-informed, empirical approach. Issues of fidelity to nature are examined by comparing painted and physical landscapes, taking into account recent human modifications. Finally, identified infidelities and their possible justifications are discussed.

中文翻译:

不忠的画笔:尤金·冯·盖拉尔(Eugene von Guérard)的三个复合景观中的自然真相

随着 19 世纪上半叶德国山水画越来越关注“自然的真实”,早期通过将来自不同地点的场景组合起来以达到构图、诗意或象征目的而将风景理想化的传统让位于山水画科学。为了创造性地描绘环境的本质,需要进行深入的观察和准确的记录。尽管尤金·冯·盖拉尔 (Eugene von Guerard) 的大部分对岸景观都不是理想化的,但他可能已经描绘了一些理想化的场景,其中结合了来自不同景观的地形、地理、地质和生态元素。这篇文章讨论了三幅这样的“有问题”的画作的构图发展。草图和场地使用多学科、科学、实证的方法进行调查。考虑到最近的人类修改,通过比较绘画和物理景观来检查对自然的保真度问题。最后,讨论了确定的不忠行为及其可能的理由。
更新日期:2017-04-03
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