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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评分這真是一本奇特的書。。。。結尾部分論materialism和poussin創作之間的聯係是神來之筆，給五分，擇日去national gallery觀賞他用一整本書寫的兩幅畫作。
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.
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