Cole, Expulsion from the Garden of Eden발음듣기
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Cole, Expulsion from the Garden of Eden
34문장
100% 한국어
번역 3명 참여
출처 : 칸아카데미
Cole, Expulsion from the Garden of Eden
We're in the Museum of Fine Arts in Boston.
We're looking at really early Thomas Cole this is the Expulsion from Eden.
Normally when we think about that subject we may think about images from the Italian Renaissance like Masaccio - Expulsion from the Garden of Eden or the Expulsion by Michelangelo, on the ceiling of Sistine Chapel.
Those are paintings of Adam and Eve of the two figures but Cole has transformed this into a landscape painting.
We can barely find Adam and Eve takes us a moment.
In part because they are so small.
But he is giving us up this over the top operatic, treatment that starkly contrasts the Garden that is Eden, Gods Paradise, with the Terror of the wilderness beyond.
I read this painting from right to left instead of from left to right .
I'd begin in the brighter Eden and Cole has given us this fantastic vista.
We can see these crystalline mountains that reach up to heaven and then slope down to these lovely glades, the tropical paradise.
And as we moved towards to the foreground, we can just make out two swans in a pool.
We even see waterfalls down this purplish mountains, and this whole area, of Eden, is flooded with light.
And everything seems verdant and lush.
But that's contrasting with the left side of the painting where we see Adam and Eve being cast out in the Garden of Eden and we feel a blast of light that expels them from the Garden of Eden that obviously represents a divine force.
Nature is much bleaker, trees have been struck by lighting and ravaged by time.
The colors are browns and there's sharp contrast of light and dark.
You can actually see a storm in the sky that frames a volcano.
Adam holds his hand up to this forehead, Eve clutches at his hand.
They know they are in deep trouble.
And is if to make that point even more clearly in a lower left we see a wild animal that's felled a deer and is protecting it against an approaching vulture.
This new culture of this new American Nation did not have what Europe had.
It did not have ancient ruins.
It did not have ancient cultures.
But at the beginning of the 19th century, philosophers and writers and painters, began to recognize that it's wilderness was, in a sense, it's great heritage.
That right.
But American painters knew that the landscape was a low kind of art in the hierarchy established by the Academies in Europe.
The knew that landscape was looked down on and one way you could ennoble a landscape and raise it up to a higher level, to the level of a history painting, was to, make it the setting for heroic human endeavor, for biblical stories.
And that's exactly what Cole has done.
American artists are always wanting to be taken seriously but because of the artistic situation in America they're often forced to paint subjects that their clients want which are not the noblest subjects, simple landscapes and portraits.
So this paintings in some ways might have been a challenge to its American public who were used to more prosaic images and here Cole is attempting something more ambitious.
Cole wants to be a serious painter and he can't do that by simply painting the Catskills as he's going to later do.
He returns again and again to these more serious subjects the voyage of life, the course of empire.
But all stories then can be enacted in the landscape.
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Normally when we think about that subject we may think about images from the Italian Renaissance like Masaccio - Expulsion from the Garden of Eden or the Expulsion by Michelangelo, on the ceiling of Sistine Chapel.발음듣기
대기중
Those are paintings of Adam and Eve of the two figures but Cole has transformed this into a landscape painting.발음듣기
대기중
But he is giving us up this over the top operatic, treatment that starkly contrasts the Garden that is Eden, Gods Paradise, with the Terror of the wilderness beyond.발음듣기
대기중
We can see these crystalline mountains that reach up to heaven and then slope down to these lovely glades, the tropical paradise.발음듣기
대기중
We even see waterfalls down this purplish mountains, and this whole area, of Eden, is flooded with light.발음듣기
대기중
But that's contrasting with the left side of the painting where we see Adam and Eve being cast out in the Garden of Eden and we feel a blast of light that expels them from the Garden of Eden that obviously represents a divine force.발음듣기
대기중
And is if to make that point even more clearly in a lower left we see a wild animal that's felled a deer and is protecting it against an approaching vulture.발음듣기
대기중
But at the beginning of the 19th century, philosophers and writers and painters, began to recognize that it's wilderness was, in a sense, it's great heritage.발음듣기
대기중
But American painters knew that the landscape was a low kind of art in the hierarchy established by the Academies in Europe.발음듣기
대기중
The knew that landscape was looked down on and one way you could ennoble a landscape and raise it up to a higher level, to the level of a history painting, was to, make it the setting for heroic human endeavor, for biblical stories.발음듣기
대기중
American artists are always wanting to be taken seriously but because of the artistic situation in America they're often forced to paint subjects that their clients want which are not the noblest subjects, simple landscapes and portraits.발음듣기
대기중
So this paintings in some ways might have been a challenge to its American public who were used to more prosaic images and here Cole is attempting something more ambitious.발음듣기
대기중
Cole wants to be a serious painter and he can't do that by simply painting the Catskills as he's going to later do.발음듣기
대기중
He returns again and again to these more serious subjects the voyage of life, the course of empire.발음듣기
대기중
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