Poussin, Landscape with St. John발음듣기
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Poussin, Landscape with St. John
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출처 : 칸아카데미
Poussin, Landscape with St. John
In the middle of the seventeenth century Rome was reborn.
It was a tremendous building campaign and I think about the extravagance spaces of the church of il Gesu with its extraordinary illusionistic ceiling. this was operatic, it was theatrical.
It's hard to imagine how at a very same time there we have that broke theatricality we have the classicism, the repose, the peacefulness the rationalism of Poussin.
We're in the Art Institute of Chicago.
We're looking at Possin's landscape with Sant John on Patmos.
This is a painting that really is about classical order and measured reality.
We know this is Saint John because of the eagle that stands beside him, which is a traditional symbol of this Evangelist.
We're looking at Saint John sitting in the foreground writing the book of Revelation, writing about the end of time, the second coming of Christ are really violent moments, but within this incredibly serene and peaceful landscape.
And of course it's Pussain who has been credited with inventing the ideal landscape and that's exactly what we have here.
And it's going to be very important for art history, for actually centuries to come.
Artists will look back at the classical landscape and reinterpret it.
In fact Pussin style was so influential that it became a standard for the French Academy.
And those who painted landscapes in this way, with a sense of rigor and order and rationalism, in a kind of ideal landscape, became known as poussinists.
So what has he actually done here?
He's placed the main figure in the foreground but he's really quite small in relationship to the landscape.
He sits in a very classicized pose.
In fact we think that Poussin took this pose directly from representations of river gods from ancient Rome.
And of course Poussin, although he was French, was in Rome for most of his life.
And that figure, Saint John, is enromanited in the foreground.
He's surrounded by the ruines of classical antiquity.
We see ruines to his left and to his right.
And also in the background, where we see the ruins of a classical temple and an ancient obelisk.
So he's in this landscape that has a sense of the passage of time as he's writing his book about the end of time.
The notion of passage, I think, is important to understanding the way Pussin constructs a landscape.
Saint John is placed in the very foreground, right at the bottom of the painting, but we can't raise back to the middle ground where that temple is that you had mentioned.
Instead, we have a couple of visual paths.
We may try to go down and straight back, but we see water, not once but twice.
And also a curtain of trees.
And so that way seems too difficult.
So instead, our eye meanders over to the right and we see a road that seems to go back, but it draws our eyes slowly through this landscape so that we slow down and enjoy the space that he's created.
And at each point in this landscape he gives us something to look at, the foreground with Saint John and the ruins, that path way punctuated by trees, into the middle ground with that temple and obelisk and then again into the background with the mountains and further back with the area perspective and more mountains and clouds.
At each place our eye has a place to rest in the landscape.
The landscape is not a specific place.
This is very much a collage of ideal forms and it makes sense for an artist whose aesthetic has been shaped by Rome, which itself is layers of cultures.
Look for instance at this painting where you've got the classical Greek or Roman temple but it's next to an Egyptian obelisk.
We actually see references to two cultures, both of which had ruled but had both fallen.
The idea here by showing those ruins is to show that there is a new Christian order that will be eternal, foretold by Saint John's book of Revelation.
The landscape is carefully, rigorously composed.
Everything has a sense of order and structure and geometry.
But that is so counter to what we expect or what we think about Saint John writing the Apocalypse.
This is a widely violent vision, it is the end of time.
It's an important reminder that this artist was actually studying stoic philosophy from ancient Greece, this idea that the control of emotion was of the utmost importance.
And not just Poussin but the circle of painters that he found in Rome.
We need to remember that there was more going on in Rome.
Then the pope's commissioning these theatrical works of art in the churchers of counterreformation.
Poussin found a circle of painters, many of whom were interested in stoic philosophy, and that he painted canvases like this one.
So Poussin has accomplished what seems to be nearly impossible.
He's created poetry out of the rational, out of the ideal.
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It was a tremendous building campaign and I think about the extravagance spaces of the church of il Gesu with its extraordinary illusionistic ceiling. this was operatic, it was theatrical.발음듣기
대기중
It's hard to imagine how at a very same time there we have that broke theatricality we have the classicism, the repose, the peacefulness the rationalism of Poussin.발음듣기
대기중
We know this is Saint John because of the eagle that stands beside him, which is a traditional symbol of this Evangelist.발음듣기
대기중
We're looking at Saint John sitting in the foreground writing the book of Revelation, writing about the end of time, the second coming of Christ are really violent moments, but within this incredibly serene and peaceful landscape.발음듣기
대기중
And of course it's Pussain who has been credited with inventing the ideal landscape and that's exactly what we have here.발음듣기
대기중
And those who painted landscapes in this way, with a sense of rigor and order and rationalism, in a kind of ideal landscape, became known as poussinists.발음듣기
대기중
He's placed the main figure in the foreground but he's really quite small in relationship to the landscape.발음듣기
대기중
In fact we think that Poussin took this pose directly from representations of river gods from ancient Rome.발음듣기
대기중
And also in the background, where we see the ruins of a classical temple and an ancient obelisk.발음듣기
대기중
So he's in this landscape that has a sense of the passage of time as he's writing his book about the end of time.발음듣기
대기중
The notion of passage, I think, is important to understanding the way Pussin constructs a landscape.발음듣기
대기중
Saint John is placed in the very foreground, right at the bottom of the painting, but we can't raise back to the middle ground where that temple is that you had mentioned.발음듣기
대기중
So instead, our eye meanders over to the right and we see a road that seems to go back, but it draws our eyes slowly through this landscape so that we slow down and enjoy the space that he's created.발음듣기
대기중
And at each point in this landscape he gives us something to look at, the foreground with Saint John and the ruins, that path way punctuated by trees, into the middle ground with that temple and obelisk and then again into the background with the mountains and further back with the area perspective and more mountains and clouds.발음듣기
대기중
This is very much a collage of ideal forms and it makes sense for an artist whose aesthetic has been shaped by Rome, which itself is layers of cultures.발음듣기
대기중
Look for instance at this painting where you've got the classical Greek or Roman temple but it's next to an Egyptian obelisk.발음듣기
대기중
The idea here by showing those ruins is to show that there is a new Christian order that will be eternal, foretold by Saint John's book of Revelation.발음듣기
대기중
But that is so counter to what we expect or what we think about Saint John writing the Apocalypse.발음듣기
대기중
It's an important reminder that this artist was actually studying stoic philosophy from ancient Greece, this idea that the control of emotion was of the utmost importance.발음듣기
대기중
Then the pope's commissioning these theatrical works of art in the churchers of counterreformation.발음듣기
대기중
Poussin found a circle of painters, many of whom were interested in stoic philosophy, and that he painted canvases like this one.발음듣기
대기중
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