Why do we find ourselves returning to certain pictures time and again? What is it we are looking for? How does our understanding of an image change over time? In his latest book T. J. Clark addresses these questions - and many more - in ways that steer art writing into new territory.In early 2000, two extraordinary paintings by Poussin hung in the Getty Museum in a single room, Landscape with a Man Killed by a Snake (National Gallery, London) and the Getty's own Landscape with a Calm. Clark found himself returning to the gallery to look at these paintings morning after morning, and almost involuntarily he began to record his shifting responses in a notebook. The result is a riveting analysis of the two landscapes and their different views of life and death, but more, a chronicle of an investigation into the very nature of visual complexity, the capacity of certain images to sustain repeated attention, and how pictures respond to, but also resist, their viewers' deepest wishes. Clark's meditations - sometimes directly personal, sometimes speaking to the wider politics of our present image-world - track the experience of viewing art through all its real-life twists and turns.
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研究普桑的著作堪称浩繁。最有代表的是Louis Marin的Sublime Poussin, 他对普桑及风景画传统有很深入的哲学、美学、历史的探讨，是一部经典之作。Clark的这部近作，是他2000年到2003年上百次去美术馆观看普桑画作笔记的汇集。他对他的观察不断反思、质疑、提出问题，这种思考的过程最有价值。他无数对画中细节的观察和思考，并非迷陷读者临摹抄袭这些细节的描述，而是引导读者发现自己观看与思考的方式。
评分这真是一本奇特的书。。。。结尾部分论materialism和poussin创作之间的联系是神来之笔，给五分，择日去national gallery观赏他用一整本书写的两幅画作。
评分这真是一本奇特的书。。。。结尾部分论materialism和poussin创作之间的联系是神来之笔，给五分，择日去national gallery观赏他用一整本书写的两幅画作。
评分这真是一本奇特的书。。。。结尾部分论materialism和poussin创作之间的联系是神来之笔，给五分，择日去national gallery观赏他用一整本书写的两幅画作。
评分Margaret Iversen 和 Stephen Melville 在 Writing Art History 里简单地谈到克拉克在这本书中对“语-图之辩”的重审和超越，可谓指出了一点重要的意义。丹托曾批评这本书，我以为他的批评是不得要领的。
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