![]() ![]() He did a lot of preparation sketches out in the countryside, but he actually painted this in his studio. He's looking at this Industrial Revolution that's eating up the British countryside, holding up this beautiful, green, still, pleasant lifestyle as something that's in reaction to that industrialization of Britain. The work also strikes a very nostalgic tone. So although it's nostalgic for a time before the machination of the Industrial Revolution came along, it's also harkens back to his youth, because the land where the scene was set was owned by his father. This scene was actually painted not in the countryside, but in Constable's London studio. ![]() People were traveling around in Rome and copying people who'd gone before, and their ideas of light and colour what picturesque, beautiful places would look like. And what Constable is doing is he's turning the lens back on the UK and saying, Look at our wonderful countryside. And in a sense that is what was intended, to be kind of a quintessential English countryside scene,very green, and beautiful. But it is actually quite unique because what Constable was doing was reflecting the landscape back onto Britain. Because before this, everyone was always looking to Italy, looking abroad, that beautiful paradise that you wanted to go and capture. ![]() In addition to that, in the early 19th century in London the Industrial Revolution was in full swing and Romantic painter John Constable was working on his most famous work “The Hay Wain (1921)” best known for painting these beautiful, pastoral scenes in the English countryside. You don't get it all at once pictures educate signs discipline mass language always tends to speak in the imperative voice the idea of sitting down and painting this landscape like an impressionist was obviously observed but how could our defend itself against torrent of signs which were more vivid than its own images by assimilating by grafting the vitality of media on to what had become a wilting language that at any rate was the hope in the 19th century the world of the industrial revolution appeared in landscape painting slowly pushing its way into a fixed aesthetic category like an intruder in paradise manufacture invading nature. Only it isn't any better for being handmade, pictures are different they're more complicated they mean a lot of things you scan them and their meaning adds up and unfolds. The more it breeds mass production strips the image of its complexity. Today for most people nature has been replaced by the culture of congestion cities and mass media. in the past people looked at one thing at a time, things could not be reproduced, each object singular each act of seeing transitive not today today the object splits into a swarm of images of itself and the more famous and object is the cultural meaning it has. The evidences of this travel (which are really incontestable, though a small minority of critics still decline to admit them) consist of (1) some fine drawings, three of them dated 1494 and others undated, but plainly of the same time, in which Diirer has copied, or rather boldly translated into his own Gothic and German style, two famous engravings by Mantegna, a number of the "Tarocchi" prints of single figures which pass erroneously under that master's name, and one by yet another minor master of the North-Italian school with another drawing dated 1495 and plainly copied from a lost original by Antonio Pollaiuolo, and yet another of an infant Christ copied in 1495 from Lorenzo di Credi, from whom also Diirer took a motive for the composition of one of his earliest Madonnas (2) several landscape drawings done in the passes of Tirol and the Trentino, which technically will not fit in with any other period of his work, and furnish a clear record of his having crossed the Alps about this date (3) two or three drawings of the costumes of Venetian courtesans, which he could not have made anywhere but in Venice itself, and one of which is used in his great woodcut Apocalypse series of 1498 (4) a general preoccupation which he shows for some years from this date with the problems of the female nude, treated in a manner for which Italy only could have set him the example and (5) the clear implication contained in a letter written from Venice in 1506 that he had been there already eleven years before when things, he says, pleased him much which at the time of writing please him no more.In a pre technological world, images of nature were the keys in art. ![]()
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