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.
具體描述
讀後感
評分
評分
評分
評分
用戶評價
大學時的藝術批評課上翻譯過其中的段落內容。最近需要重讀
评分大學時的藝術批評課上翻譯過其中的段落內容。最近需要重讀
评分Margaret Iversen 和 Stephen Melville 在 Writing Art History 裏簡單地談到剋拉剋在這本書中對“語-圖之辯”的重審和超越，可謂指齣瞭一點重要的意義。丹托曾批評這本書，我以為他的批評是不得要領的。
评分連續兩年讀剋拉剋在倫敦書評上的文章，我想我對這本書和他寫作的整體保留在於他對待讀者的態度和作為書寫者姿態中的一些矛盾之處，這點他實在比不上施坦伯格純粹作品齣發的闡述能力。jonathan harris新評中言："Clark’s virtuoso readings of a number of key artworks...threaten to sabotage presuppositions of description's usual corrigibility." I wonder if such "sabotaging" is really healthy at all for the practice of interpretation.
评分研究普桑的著作堪稱浩繁。最有代錶的是Louis Marin的Sublime Poussin, 他對普桑及風景畫傳統有很深入的哲學、美學、曆史的探討，是一部經典之作。Clark的這部近作，是他2000年到2003年上百次去美術館觀看普桑畫作筆記的匯集。他對他的觀察不斷反思、質疑、提齣問題，這種思考的過程最有價值。他無數對畫中細節的觀察和思考，並非迷陷讀者臨摹抄襲這些細節的描述，而是引導讀者發現自己觀看與思考的方式。
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