By John F. Carlson
The whys and hows of many of the features of panorama portray: angles and consequent values, aerial and linear viewpoint, portray of timber, emotional homes of line and mass in composition, mild, team spirit of tone, plus details on canvas, palette, brushes, extra. 34 black-and-white reproductions of work by way of Carlson. fifty eight explanatory diagrams.
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Additional resources for Carlson's Guide to Landscape Painting
Humanists in Dürer’s and Altdorfer’s time conventionally held up the panel painting as a paragonal format for descriptions of the universe, a more adequate medium for this task than language. ’ Johann Cuspinian, the Viennese poet and physician, promised in his university lectures c. In this case Celtis actually designed for his book, through the agency of Dürer’s workshop, four woodcut panoramas based on astrological calendar scenes. The walled city at the centre of the woodcut introducing book Two – the account of Celtis’s romance with ‘Elsula’ – is Regensburg itself (illus.
It reveals another dimension of Northern art altogether. Neither mode acknowledges, or has any particular use for, the so-called ‘deictic’ utterance, the utterance that calls attention to the circumstances of its own physical production. In linguistics, a deictic sign is a grammatical element (an adverb, a verb tense) which places the source of the utterance in some spatial or temporal relationship to the content of the utterance. Those theories, he argues, were excessively concerned with an image that simulated optical impressions of space.
It is neither an element of a decorative scheme, such as the painted wall of a villa, nor part of an illuminated manuscript. It appears neither on the shutters of an altarpiece or a portrait, nor as the Albrecht Dürer, Shepherds Making Music, miniature on parchment, pasted into a printed edition of Theocritus, Venice, c. . National Gallery of Art, Washington, , Woodner Collection. mere background of a narrative composition or a portrait. The independent landscape makes a clean break with the topological conventions of the dependent landscape.
Carlson's Guide to Landscape Painting by John F. Carlson