Romantic Landscape Vision: Constable and Wordsworth |
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Page 5
... London , 1965 - still a good source for poets like Thomson's knowledge of pic- tures ) , Christopher Hussey , The Picturesque ( 1927 ; reissued , London , 1967 ) , and W. J. Whipple , The Beautiful , the Sublime , and the Picturesque in ...
... London , 1965 - still a good source for poets like Thomson's knowledge of pic- tures ) , Christopher Hussey , The Picturesque ( 1927 ; reissued , London , 1967 ) , and W. J. Whipple , The Beautiful , the Sublime , and the Picturesque in ...
Page 14
... ( London , 1930 ) , passim . 13. My focus is subject matter . In Constable's own time it was contrast between un- usual technique , e.g. , bright colors , and subject matter which aroused strong critical re- actions , often hostile but ...
... ( London , 1930 ) , passim . 13. My focus is subject matter . In Constable's own time it was contrast between un- usual technique , e.g. , bright colors , and subject matter which aroused strong critical re- actions , often hostile but ...
Page 16
... ( London , 1902 ) , p . 174. See also Sir John Rothenstein , Nineteenth - century Painting : A Study in Conflict ( London , 1932 ) , and many of Constable's own com- ments , such as that to Fisher in a letter of 8 April 1826 about The ...
... ( London , 1902 ) , p . 174. See also Sir John Rothenstein , Nineteenth - century Painting : A Study in Conflict ( London , 1932 ) , and many of Constable's own com- ments , such as that to Fisher in a letter of 8 April 1826 about The ...
Contents
Tintern Abbey and The Cornfield | 29 |
Peele Castle and Hadleigh Castle | 44 |
Constable and Graphic Landscape | 61 |
Copyright | |
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Common terms and phrases
aesthetic analogous artists awareness Beaumont's century Chaucer's chiaroscuro classical Claude Claude's clouds color consciousness Constable and Wordsworth Constable's Constable's art contrast Cornfield critics Dedham Vale Denham's earlier embody Ernest de Selincourt evoke example experience fashion feeling foreground Grasmere Hadleigh Castle Haywain Home at Grasmere human imaginative impression interaction John Constable Kenneth Clark landscape art landscape painting landscape poetry landscapists later light lines literary London M. H. Abrams man's Milton mind mode natural scene natural world never objects painter Paradise passage pattern Peele Castle perceive perception picture picturesque poem poem's poet poet's poetic Pope's Poussin Prelude reader relation represent rhythms Romantic Romanticism Rosa Ruskin scape Seasons sensation sense sight significant Snowdon specific spots sublimity suggested temporal texture things Thomson's Tintern Abbey tion trees ture turization Turner unique unity Ut Pictura Poesis Vale vision visual vital William Wordsworth Windsor Forest Words Wordsworth and Constable worth's