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Art and ecology in nineteenth-century France : the landscapes of Théodore Rousseau

著者: Greg M Thomas
出版: Princeton, NJ : Princeton University Press, ©2000.
エディション/フォーマット:   書籍 : Englishすべてのエディションとフォーマットを見る
データベース:WorldCat
概要:
"In Art and Ecology in Nineteenth-Century France, Greg Thomas sets forth a new ecological model of landscape painting, in which the process of art is seen to mimic the creative processes silently at work in the environment around us. Developing an aesthetic of place with implications for the entirety of nineteenth-century art, Thomas focuses specifically and with engaging exactitude on the landscapes of Barbizon
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ジャンル/形式: Criticism, interpretation, etc
関連の人物: Théodore Rousseau; Théodore Rousseau; Théodore Rousseau; Théodore Rousseau; Théodore Rousseau; Théodore Rousseau; Théodore Rousseau; Théodore Rousseau
資料の種類: インターネット資料
ドキュメントの種類: 図書, インターネットリソース
すべての著者/寄与者: Greg M Thomas
ISBN: 0691059462 9780691059464
OCLC No.: 42428699
物理形態: 275 p. : ill. ; 25 cm.
コンテンツ: Introduction: The Ecological Paradigm --
A New Perspective: Rousseau's System --
Ecology and the Naturalist Discourse --
Reimagining France: Rousseau's Rural Sites --
Ecology in the Forest of Fontainebleau --
Conclusion: The Aesthetics of Ecology --
Rousseau's Correspondence --
Rousseau's Travels.
責任者: Greg M. Thomas.
その他の情報:

概要:

"In Art and Ecology in Nineteenth-Century France, Greg Thomas sets forth a new ecological model of landscape painting, in which the process of art is seen to mimic the creative processes silently at work in the environment around us. Developing an aesthetic of place with implications for the entirety of nineteenth-century art, Thomas focuses specifically and with engaging exactitude on the landscapes of Barbizon painter Theodore Rousseau.

These paintings - dreams of nature as a web of life in which human beings occupy a peripheral role - overwhelmed Rousseau's contemporaries with their novel light effects, original perspective, and "sheer profusion of visual sensation." While Baudelaire considered them superior to even Corot's works, they baffled art critics and have never fit convincingly into the received categories of naturalism, "pre-Impressionism," or modernism."--BOOK JACKET.

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