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by Kenneth Clark
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History & Criticism
  • Author:
    Kenneth Clark
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    Gibb Press (November 4, 2008)
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    276 pages
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    History & Criticism
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Printed in Great Britain by R. R. CM, Lt. Edinburgh, with illustrations reproduced and printed byj. Swain Son, Lt. Barnet, Bound by Hunter Foulis, Lt. Edinburgh and published by John Murray Publishers Lt. London 75 TO MAURICE BOWRA 6441577 Contents PAGE INTRODUCTION Xvii CHAP.

Thursday, 21 January 2010. Landscape into Art by Kenneth Clark. I have to get a 'proper' copy of this book not least because I love his categories of how landscape art works. Landscape into Art by Kenneth Clark The Contents Page. the landscape of symbols. the landscape of fact.

Landscape Into Art. by. Kenneth Clark. Book Source: Digital Library of India Item 2015. author: Kenneth Clark d. ate. te: 2004-07-24 d. citation: 1949 d. dentifier: RMSC, IIIT-H d. dentifier. origpath: 6 d. copyno: 1 d.

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This is a pioneering 1960s study of Western landscape painting by one of the most esteemed art historians of the twentieth century.

Clark, Sir Kenneth, Landscape into Art, 1949, page refs to Penguin edn of 1961. Dreikausen, Margret, "Aerial Perception: The Earth as Seen from Aircraft and Spacecraft and Its Influence on Contemporary Art" (Associated University Presses: Cranbury, NJ; London; Mississauga, Ontario: 1985). Growth, Paul Erling Wilson, Chris, Everyday America: Cultural Landscape Studies After . Jackson, 2003, University of California Press, ISBN 0520229614, 9780520229617, google books.

Home Browse Books Book details, Landscape Painting. The kind of art which interests young people, arouses their curiosity and excites them to argument, is the art of their own time: and it seemed to me that the Slade Professor's first course of lectures should be enough concerned with the past to allow of a settled perspective, but should also touch, and if possible clarify, the puzzles of modern painting.

Bo Jeffares shows how landscape painting reflects the way that people interpret the world around them. Since the Middle Ages artists have been creating images that have become part of the popular imagination. An 'ideal' view of nature was first depicted in the 16th century. Later, artists saw landscape in terms of architecture or of light. While 19th-century painters were 'true' to nature, recent artists have interpreted it symbolically.

Stella & Rose's Books. Specialists in Rare & collectable books. Landscape into art. by Kenneth Clark. Published by Folio Society. Blue cloth spine with gilt title.

LANDSCAPE INTO ART by JOHN MURRAY. Contents include: INTRODUCTION Xvii CHAP. I. THE LANDSCAPE OF SYMBOLS I II. THE LANDSCAPE OF FACT l6 III. LANDSCAPE OF FANTASY 36 IV. IDEAL LANDSCAPE 54-V. THE NATURAL VISION 74 VI. THE NORTHERN LIGHTS 97 VII. THE RETURN TO ORDER 112 EPILOGUE 131 ILLUSTRATIONS between pp. 144. and 145 INDEX 145 Vll Illustrations i. HELLENISTIC FRESCO. 20. THE CANTERBURY PSALTER c. 1150. 2k THE UTRECHT PSALTER Ninth Century. 3 z. FRENCH TAPESTRY c. 1510. 3 ft. MOSAIC Twelfth Century. 4. SIMONE MARTINI. 5. FRESCOES OF c. 1343. 60. LITRE DE CHASSE DE GASTON PH BUS c. 14.00. 6b. GOTHIC SCULPTURE c. 1293. 7. STEFANO DA ZEVIO. 8. GIOVANNI DI PAOLO. 9. UNKNOWN FLORENTINE c. 1410. 10. BENOZZO GOZZOLI. 11. COLOGNE SCHOOL c. 1410. The Boat of Ulysses drawn to the Island of Circe. Vatican, Museo Profane. Illustration to the Psalm Usquequo Domine. Cambridge, Trinity College. Illustration to the same Psalm. Utrecht, University Library. La Dame a la Licorne. Paris, Musle de Cluny. Palermo, Cappella Palatina. Title Page of Petrarchs Virgil. Milan, Bibloteca Ambrosiana. Bird Catchers Avign Palace Rabbits. J Avignon, Chambre des Cerfs, Papal Palace. Paris, Bibliotheque Nationak. Foliage Capitals. Southwell Minster, Chapter House. Madonna in a Rose Garden. Verona, The Castello. The Young St. John going out into the Wilderness. London, National Gallery. The Thebaid. JUffizi. The Journey of the Magi. Florence, Chapel ojthe Palazzo Medici-RiccardL Paradise Garden. Frankfurt. IX ILLUSTRATIONS 12. VAN EYCK. i2b. THE LIMBOURG BROTHERS. 21. 22. 23. 24. 25. 26. 27. Landing of Duke William of Bavaria, from The Hours of Turin . Destroyed. The Temptation and Expulsion, from the Trs Riches Heures du Due de Berry . Chantilly. Scenes from the Calendar of the Trs Riches Heures du Due de Berry . Chantilly. Occupations of the Months. Trent, Castello del Buonconsiglio. The Hunt in the Wood detail. Oxford, Ashmolean Museum. The Madonna of the Chancellor Rollin detail. Louvre. St. Barbara unfinished panel. Antwerp. View of Arco. Louvre. The Miraculous Draught of Fishes. Geneva, Musle des Beaux Arts. ANTONELLO DA MESSINA. Crucifixion. Hermannstadt Transylvania. Martyrdom of St. Sebastian detail of landscape. London, National Gallery. The Rape of Dejanira. New Haven, U. S. A., Jarves Collection. Reverse of the Montefeltro Portraits details of landscapes, Uffizi. Madonna of the Meadow detail. London, National Gallery. Resurrection. Berlin. St. Francis in the Wilderness. New York, Frick Collection. The Portinari Altar-piece detail. Uffizi. Winter, the Dark Day. Vienna, Gemaldegalerie. 13. THE LIMBOURG BROTHERS. 14. UNKNOWN PAINTER c. 1415-15. PAOLO UCCELLO. 1 6. JAN VAN EYCK. 17. JAN VAN EYCK. iSa. DtfRBR. i8i. KONRAD WITZ. 19. 20. POLLAIUOLO, POLLATCJOLO. PIERO DELIA FRANCESCA. GIOVANNI BELLINI. GIOVANNI BELLINI. GIOVANNI BELLINI. HUGO VAN DER GOES. PDBTER BREUGHEL. 28. REMBRANDT. A Canal with a Rowing Boat drawing. Chatsworth, the Duke of Devonshire. ILLUSTRATIONS 29. JACOB VAN RVYSDAEL. The Banks of a River. Edinburgh, National Gallery of Scotland. 30. DftRER. Fishermans Hut on a Lake water colour. London, British Museum. 31. PIETER SAENRBDAM. Old Town Hall, Amsterdam. Amsterdam, Rijksmuseum. 32. JACOB VAN RUYSDAEL. View Near Haarlem. London, National Gallery. 33. THOMAS GAINSBOROUGH. Mr. and Mrs. Andrewes detail. Andrewes Collection. 34. GR NEWALD. Isenheim Altar wing, Temptations of St. Anthony. Colmar, Museum. 35. GRUNEWALD. Isenheim Altar wing, The Two Hermits. Colmar, Museum. 36. ALTDOREER...

After exactly fifty years away, I am returning to my old field as an art historian, in preparation for a course that will use landscape as inspiration for the non-visual arts. Although I have more modern and more lavishly illustrated books on hand—notably Landscape And Memory by Simon Schama and Landscape and Western Art by Malcolm Andrews—I wanted first to return to this 1949 classic that opened my eyes then and I hoped might do so again now. I'm glad that I did; Clark is excellent.

You would not buy this book for the illustrations. There are 132 of them, often of generous size, but all are in black and white. [The hardback edition prints eight plates in color, but so few as not to make much difference.] But nowadays we have the internet, and it is easy to look up the color versions of anything in the book—and also the almost equal number that Clark mentions in the text, but doesn't illustrate. There is a caveat here, however: you are likely to find several versions of the same picture, all slightly—and sometimes grossly—different in color and tone; it takes some experience of gallery-going to guess which is likely to be the most accurate.

But the text still makes you think. It is not so much Clark's prose (though more on that in a moment) as the scope of his overview and the clarity of his thought. Just a glance at the chapter titles says a lot. "The Landscape of Symbols" deals with the Middle Ages and an art where the natural world stood for religious ideas, rather than as a thing of beauty in itself. "The Landscape of Fact" shows the shift to the loving detail of the Van Eycks, Brueghel, and Giovanni Bellini, all the way through to Ruisdael and Vermeer. "Landscape of Fantasy" looks at the first wave of northern Expressionists such as Altdorfer and Grünewald, before moving south to Leonardo and El Greco. "Ideal Landscape" opens with a loving essay on Giorgione before going to Claude and Poussin. The hero of "The Natural Vision" is Constable, who opens the door to the rest of the 19th century and the Impressionists. "The Northern Lights" gives a parallel account of the century, from Turner to Van Gogh. And finally "The Return to Order" moves to the 20th century, with Seurat and Cézanne, to end in the Epilogue with Mondrian and Klee.

The book began as a series of lectures delivered at Oxford, and possibly the author's desire to gather ten centuries of history into discrete themes has led him at times to oversimplify, especially as he approaches his own time. In his 1976 revisions, included here, he adjusts some opinions and fills in gaps. But when I say "oversimplify," I speak comparatively; this is not a book for beginners. Clark knows he is addressing an educated audience: he references numerous artists without explanation, he tosses off the names of galleries, he drops literary references without feeling the need for attribution, and he quotes freely in French without translation. But when he speaks directly in his own voice, he is always stimulating, often poetic, and occasionally superb.

Let me end with three passages, a page or so apart, as Clark reflects on the expressionism of Van Gogh. It is highly personal writing, confident in its opinions, but what a magnificent expression of the mid-century Zeitgeist in a world ravaged by two wars!

And yet van Gogh's light is very different from the pearly radiance of Turner. It is fierce, fitful,
and distracting (once more we see the analogy between light and love); it beats upon the
brain and can only be exorcised by the most violent symbols, wheels and whorls of fire, and
by the brightest, crudest colours which can be squeezed with frenzied urgency from the tube.
So in spite of his passion for nature, van Gogh was forced more and more to twist what he
saw into an expression of his own despair.

…In 1880, Cézanne and Degas were still classic painters, and the impressionists were all
sunshine. It was van Gogh who brought back the sense of tragedy into modern art; and, like
Nietzsche and Ruskin, found in madness the only escape from the materialism of the
nineteenth century.

…But we should not therefore avert our eyes, in an agony of good taste, from the value of this
style at the present time. In an age of violence and hysteria, an age in which standards and
traditions are being consciously destroyed, an age, above all, in which we have lost all
confidence in the natural order, this may be the only possible means by which the individual
human soul can assert its consciousness.
What a fine book. The text is everything I could expect from such a fine writer as Clark. He delves into the process of how landscape art evolved from the simple act of copying nature, gaining breadth and meaning in revealing the mind and soul of fine painters and the times they lived in.
The binding and slipcase are of excellent quality and the cover of the book is bright and fresh. The illustrations, all color, are clearly printed and very well balanced with the text. I am very pleased with this purchase and I am very happy to have had the opportunity to by the "original" version of this book, which, based on other reviews, has been published in a far lesser quality edition.
As an amateur landscape painter, this book helped me immensely. Engaging to read, it describes the history of western landscape painting, from medieval manuscripts up through the neoimpressionists, Van Gogh and Cezanne. It helps you to see what you're looking at, in prints or museums. It considers both "realism" and fantasy landscapes, and it shows you how light was always important, even way before the Impressionists. It explains why Constable is the great progenitor, and what was new, and what wasn't, in the impressionists. The reproductions are all a fizzy black and white, but the pictures he talks about are often famous and you can easily find good prints. He's a gracious and knowledgable writer.
Kenneth Clark is my favorite art historian. His passionate and narrative approach to art history is captivating and you will never go wrong with buying any of his books (I have several and love them all).
This book was a gift. The person who got it was thrilled as the plates in it are beautiful and the text is--well it's Kenneth Clark so you know it is thought provoking. I have the version of this book without color plates and though the text is totally worth reading, I wish for the color. The seller was conscientious and the book was protected so thoroughly I believe it wouldn't have been damaged had a tornado picked it up and dropped it in a river.
This is a pioneering 1960s study of Western landscape painting by one of the most esteemed art historians of the twentieth century. Unfortunately the b/w reproductions are poorly printed so one should scan the internet for better copies (thus the four star rating).
classic book on the appreciation of painted landscapes by the great artists. illustrated with photographs but very few color photos.
It's great to have a reprint of this important work on the history of European landscape painting (first published in 1949). Unfortunately the 104 plates, which are an essential part of the book, are horribly reproduced --at least in my copy. The problem isn't that they are black and white, I could live with that, but they are uniformly so dark as to be mostly black. It seems like a botched job of printing. Moreover, there are two plates 3a and 3b (with the same images in different sizes) and no plates 2a or 2b.

I haven't compared this to the original, but it's hard to imagine it could have been this bad. What a disappointment not to be able to view better reproductions of the paintings discussed in the text.