LANDSCAPE

Kenneth Clark, Landscape Into Art, introduction by Will Gompertz (London: The Folio Society, 2013) ("Before landscape painting could be made an end in itself, it had to be fitted into the ideal concept to which every artist and writer on art subscribed for three hundred years after the Renaissance. The delight in imitation . . . was not enough. . . . Both in content and design landscape must aspire to those higher kinds of painting, which illustrate a theme, religious, historical or poetic. And this cannot be done simply by introducing a small group of figures enacting the Flight into Egypt or the story of Eurydice, but by the mood character of the whole scene. The features of which it is composed must be chosen from nature, as poetic diction is chosen from ordinary speech, for their elegance, their ancient associations and their faculty of harmonious combination. Ut pictura poesis." Id. at 77. "As an old-fashioned individualist I believe that all the science and bureaucracy in the world, all the atom bombs and concentration camps, will not entirely destroy the human spirit; and the spirit will always succeed in giving itself a visible shape. But what form that will take we cannot foretell." Id. at 167.).