LITERATURE AND PAINTING: THE HORIZON AND THE LANDSCAPE IN ``DER WANDERER ÜBER DEM NEBELMEER`` AND ``BARBA ENSOPAPADA DE SANGUE``
The landscape is a set accessible from a perception that does not only occur in situ, but also in visu and/or in art, through this bias the present analysis dialogues with the notion of landscape addressed in other areas of knowledge such as geography and tourism, distinguishing these figurative spaces from the subject's point of view. According to Collot, the landscape differs from a geographical extension “it is a perceived and/or conceived space, therefore, irreducibly subjective” (2012, p.51). The presence of the subject in the landscape design process focuses on the theme of the horizon, which comprises a “visual dimension that escapes the sole power of the senses, and that opens, to the border of the visible, the field of a second view offered to the eye of the spirit” (2013, 102). A dreamlike painting is likely to be related to a horizon. The work: Der Wanderer über dem Nebelmeer (1818), by Caspar David Friedrich, incorporates this question of the infinity of the landscape. In addition to the configuration of the horizon, the German painter's pictorial narrative poetizes the nature represented, awakening feelings in the observer, who is invited to visualize the landscape that extends from the position and gaze of the character at the center of the composition. as a figure that occupies a significant part of the space and not of a smaller size in relation to the landscape, as human figures are portrayed in some realistic works, a nuance that highlights the presence of thoughts, of the subject's daydreams in the process of designing the landscape. The romance: Barba Ensopada de Sangue allows this artistic look at the landscape that is expressed through the author's feelings and embraced by the reader who is invited “to fill in the gaps in the look through the work of imagination or the impulse of movement” (2012, p.51 and 52) and to go through the represented space, seeing the beach, the sea, the fictional beings and all the landscape dimensions present in Daniel Galera's narrative.
LITERATURE AND PAINTING: THE HORIZON AND THE LANDSCAPE IN ``DER WANDERER ÜBER DEM NEBELMEER`` AND ``BARBA ENSOPAPADA DE SANGUE``
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DOI: 10.22533/at.ed.92937231312
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Palavras-chave: Painting. Literature. Horizon. Landscape.
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Keywords: Painting. Literature. Horizon. Landscape.
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Abstract:
The landscape is a set accessible from a perception that does not only occur in situ, but also in visu and/or in art, through this bias the present analysis dialogues with the notion of landscape addressed in other areas of knowledge such as geography and tourism, distinguishing these figurative spaces from the subject's point of view. According to Collot, the landscape differs from a geographical extension “it is a perceived and/or conceived space, therefore, irreducibly subjective” (2012, p.51). The presence of the subject in the landscape design process focuses on the theme of the horizon, which comprises a “visual dimension that escapes the sole power of the senses, and that opens, to the border of the visible, the field of a second view offered to the eye of the spirit” (2013, 102). A dreamlike painting is likely to be related to a horizon. The work: Der Wanderer über dem Nebelmeer (1818), by Caspar David Friedrich, incorporates this question of the infinity of the landscape. In addition to the configuration of the horizon, the German painter's pictorial narrative poetizes the nature represented, awakening feelings in the observer, who is invited to visualize the landscape that extends from the position and gaze of the character at the center of the composition. as a figure that occupies a significant part of the space and not of a smaller size in relation to the landscape, as human figures are portrayed in some realistic works, a nuance that highlights the presence of thoughts, of the subject's daydreams in the process of designing the landscape. The romance: Barba Ensopada de Sangue allows this artistic look at the landscape that is expressed through the author's feelings and embraced by the reader who is invited “to fill in the gaps in the look through the work of imagination or the impulse of movement” (2012, p.51 and 52) and to go through the represented space, seeing the beach, the sea, the fictional beings and all the landscape dimensions present in Daniel Galera's narrative.
- Patrícia Bersch Barbosa
