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

作者: Greg M Thomas
出版商: Princeton, NJ : Princeton University Press, ©2000.
版本/格式:   圖書 : 英語所有版本和格式的總覽
資料庫:WorldCat
提要:
"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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詳細書目

類型/形式: Criticism, interpretation, etc
提及的人: Théodore Rousseau; Théodore Rousseau; Théodore Rousseau; Théodore Rousseau; Théodore Rousseau; Théodore Rousseau; Théodore Rousseau; Théodore Rousseau
資料類型: 網際網路資源
文件類型: 圖書, 網路資源
所有的作者/貢獻者: Greg M Thomas
ISBN: 0691059462 9780691059464
OCLC系統控制編碼: 42428699
描述: 275 pages : illustrations ; 25 cm
内容: 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: Greg M. Thomas.
更多資訊:

摘要:

"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."--Jacket.

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