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uts, hazelnuts,etc.ofdetail.the sutuousfeastinsideseen,butonlysuggestedbytheseleftoverstobe throotherefuseheap.theionisthereforeeverything,onh dependsverylargelythepoeticqualityoftheisshyhtportrayaland italething fortheigination hadesepaintingreient,hophasisoion oreatteroftheheadthanoftheheart,itruckablindalley, forart,arilytoourfeelingsandoursenses,wouldhave degeedintoatheti.noauntofteical skillorcleveessofintellectualiongiveusgreatart,ifitfailstoachieve anatsphereandevokeinusasyathetiotion.hisinallgreatpaintings,oodisthereforeeverything.the draerelytosuggesttheabsenceofany boatnnearby,andthatabsei,it evokesinusaodofsolitudeanddesolatiodriftacross bytheforurrentifitesaliveandfullof aningtousonlyhattheboathavedriftedacrosslikethat ifithadnotbeealone,andthisleadstoarefleonthedesolationofthe seotions.ofavailisittopaintthesignofa boogrovebythebridgeunlessagihe peopleightbegatheredinthatehangsheavyandlifeis atpeadnspendans rheutisndthequeensgirlhoodronoodis thereforeeverything,inpaintingasiry.thisleadsustoaionof ”atsphere,5othericvitality,”hehighestideal ofesepaintingforthelastfourteenhundredyears,sincehsiehhofirst enunciateditandotherpainterselaboratedanddiscussedandquarrelledoverit forustreerthattheesepaintersdidnotereayofdetail. sutungposaid:”ifoicizespaintingbyitsverisilitude,onesuanding issilartothatofachild.”buttakingaereverisilitude,hasthe paioofferus,afterall,isthepurposeofpaintingtheanshatthe artistshouldousthespiritofthespathetic odinrespohatisthehighestobjedidealofeseart.we reerhoakesperiodiountainstorefreshhis spiritiainairandulateddustofurban thoughtsandsuburbanpassions.heoral andspiritualelevation,andhebravestheselfinraintolistento thethunderingongpilesofksandbrushwood andhideshielfinbaoogrovesfordaysioabsorbthespiritoflifeand nature.heshouldousthebeofthatnionofnature,and hespiritofthethingsasitisinstilledintohissoul,and recreateforusapicture,”surchargedoodsandfeelings,evergingand ight,likeyiijen,giveusalandscapeof lingistsherodenlethetrees, ihegeneralistnessoftheatsphere,or,like niyiinligiveusapindesolation,htheuntryastretch ofblankenessareessosparseoffoliagethatonlyafewdanglingleaves affectusbytheirlonelinessandtheirshiveringld.inthepoosphere andthisgeneralrhythalldetailstenandonlythetralinood reins.thatis”rhythcvitality,”ettijuung,thehighestidealof eetagain thisisthessageofeseart,thatitteachesusaprofoundloveofnature,forthe dofnature.thebestofelandscapes,likerots3giveusthe saatsphereandthesafeelingfoature,butirayalofhunfor, theisdesubservienttothe forofnature.ifthereisanyapprealehunforssuch,wesee notraalefest, notthebeautiesoftheirbodiesbutthelihehehis anbody,espealebody,seetotobethest singularteristifostsingularntrastbethineseand eartisthedifferehesourceofinspiratioselfforthe eastandthefeleforortheindasbeingre grotesquethanthatafelefigureshouldbelabelled”ion”orthatanude bathinggirlshouldbedetorepreseeer.”todaynyese arestilluoreheelvestothefaivilizationrequires actualliving”dels,”strippedandplacedbeforeoneseyes,tobestaredatdailyfor te,beforeoneleaeventhefirstessentialsofpainting.of ursetherearealsonyeersy ther”abovetheirntelpiedutelatea felefigurecalled”ion.”thereisstilltodayalargeproportionof englishandarisocietyuresintheirflatsby sayingthattheroosrentedfuished,andknotodoha vienneseporeoftheirfriendshavepreseheorchrists, theygenerallybanishtheaionbycallihings ”art,”andtheonesadethen”cr ...