Artistic Representation of Nature

Extract

[...] The artist must rethink the landscape to become expressive. For Baudelaire, the 'beautiful' is never truly so: he emphasizes artistic imagination to make each line aesthetically pleasing: ' all forget that a natural site has value only in the sentiment that the artist knows how to put there». Nature provides material to work with but does not take away from the artist the duty to re-compose his designs. Delacroix defends the importance of colors and the simplification of reality, generating harmony. [...]

[...] Landscape accuracy is secondary. The true work is to generate impressions (tranquility, anger, serenity . The work is a support for emotion. Baudelaire values feelings rather than description: the painter is not a copyist (« in this foolish cult of nature [ . ] not explained by imagination, I see a signal of general decline »). The artist recomposes reality to make it, thanks to symbols, ideas, images. The beauty comes not from an external, spectator impression, but from what it creates inside oneself. [...]

[...] In a second time, the authors will demonstrate how and why the artist's subjectivity is central. Finally, a third reflection will be developed in the last paragraph, which will seek to demonstrate that what is important in a work is not accuracy but the emotional that bursts forth. Painters must move away from raw nature, recompose landscapes. Transcribing raw nature has no artistic value. Nature is not always beautiful, the [...]

[...] This conscious subjectivity and understanding of the world give a real aesthetic landscape. Representation is not the goal, it is the effect and emotions that make the beauty of the work. Corpus of the summary note: Text Denis DIDEROT, Salon de 1767 Text Eugène DELACROIX Journal (1823-1850), Paris, Librairie Plon volume third Text Eugène DELACROIX Journal (1823-1850), Paris, Librairie Plon Introduction: STUDY ON THE MASTER BY Paul FLAT Text BAUDELAIRE Salon de 1759 - VII: Le paysage in BAUDELAIRE, Critique d'art, Gallimard (Folio essais) p. [...]