Just as the Spanish painter Goya transcended the world of reason, "freely injecting private dreams into the picture", Blake "wrapped in his fantasy, even refusing to depict nature, he completely relied on his heart to create works. . . . he was the first post-Renaissance artist to deliberately defy established traditional standards . . . ”.  [Figure 1] william-blake-the-ancient-of-days Photo Credit: © British Museum. 【Picture 1】William Blake, The Ancient of Days, 1794. Relief etching with hand colouring, 23.3 x 16.8 cm. Although Gombrich gave Blake a positive evaluation, he was well aware that the development of
European art in whatsapp database the next century did not follow Blake's line. It was two landscape painters who really played a role in the development of European art in the 19th century. This is what Gombrich said of Turner [Fig. 2] and Constable [Fig. 3]: The artist's new freedom of choice of subject matter fueled another branch of painting - landscape painting. Until then, it had been seen as a secondary branch of art, and people would not honor painters who made a living by depicting landscapes such as country houses, parks, or picturesque locations . But through the romantic spirit of the late eighteenth century, this attitude was somewhat changed, and great artists began to elevate this type of painting to a new level as their purpose in life. Tradition here becomes both a help and a hindrance; and it is interesting to see
How differently two English landscape painters of the same generation approached the issue. One of them is Turner, the other is Constable. The contrast between the two is somewhat reminiscent of the contrast between Reynolds and Genzbarro urner-dido- Photo Credit: © National Gallery, London. 【Picture 2】JMW Turner, Dido building Carthage, or The Rise of the Carthaginian Empire, 1815. Oil on canvas, 155.5 x 230 cm. e38090e59c963e38091john-constable-the-ha Photo Credit: © National Gallery, London [Figure 3] John Constable, The Hay-Wain, 1821. Oil on canvas, 130 x 185 cm. This work was exhibited at the Paris Academy Salon in 1824. Let's put aside this rather interesting remark for now.