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• in contrast to the poet, du bos argues, the painter cannot arouse our interest in unknown persons by granting them appealing characters and thus must con ne himself to representing gures we already know: “his great merit consists in making us recognize these figures with certainty and ease.” yet while all visual artists face this limitation by du bos’s account, the discussion that follows makes clear that he is thinking above all of easel paintings and of the particular challenge posed by their capacity to travel. “if the subject of frescoes painted on great walls or of those large pictures that remain always in the same place is not well known, it may become so,” he argues; but “easel paintings, destined often to change place and owner alike,” apparently do not benefit from such local co... ()

  2016-05-21 19:49:37

• i have many times been surprised that painters, who have such a great interest in making us recognize the gures they want to use in order to move us, and who must encounter so many difficulties in making them recognized with the aid of the brush alone, do not always accompany their historical pictures with a short inscription. most spectators, who are otherwise very capable of doing justice to the work, are not learned enough to guess the subject of a picture. for them it is sometimes like a beautiful woman who pleases but who speaks a language they do not understand at all. people soon grow tired of looking at her, because the duration of such pleasures, in which the mind has no part, is very short. “the sense of the gothic painters, however coarse it was, made them realize the utility ... ()

  2016-05-21 19:49:37