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The Fluent Image : = Affinities in the Aesthetics of William Wordsworth and Nineteenth-Century Landscape Painters.

Record Type:	Electronic resources : Monograph/item
Title/Author:	The Fluent Image :/
Reminder of title:	Affinities in the Aesthetics of William Wordsworth and Nineteenth-Century Landscape Painters.
Author:	Snyder, William C.
Description:	1 online resource (206 pages)
Notes:	Source: Dissertations Abstracts International, Volume: 45-07, Section: A.
Contained By:	Dissertations Abstracts International45-07A.
Subject:	British and Irish literature. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=8417570click for full text (PQDT)
ISBN:	9798205090261

The Fluent Image : = Affinities in the Aesthetics of William Wordsworth and Nineteenth-Century Landscape Painters.
Snyder, William C.

The Fluent Image :Affinities in the Aesthetics of William Wordsworth and Nineteenth-Century Landscape Painters. - 1 online resource (206 pages)

Source: Dissertations Abstracts International, Volume: 45-07, Section: A.

Thesis (Ph.D.)--West Virginia University, 1984.

Includes bibliographical references

Looking at how the artist sees, rather than studying what he believes, we find in the early nineteenth century evidence that sensuous and dynamic perception is a basis for the creation of art. Wordsworth was conscious of this point, and when he depends on his eye, rather than on his heart or soul, he offers an imagery of fluency and sensation that parallels artistic images in the work of English Romantic painters John Constable and Joseph Mallord William Turner, and in the work of some French Impressionists, especially Claude Monet. Wordsworth, Constable, Turner and Monet are linked because each of these artists, despite the difference of medium, asks the same aesthetic question: "How do I see the object?" This study examines those passages in which Wordsworth perceives in a manner strikingly similar to that of the Romantic and Impressionist painter. In some of Wordsworth's descriptions of nature in and after Lyrical Ballads, there is a dynamism and fluency of imagery having affinities to the landscapes of Constable, Turner and Monet. Four critical axes are used to determine specifically where parallels exist between Wordsworth and the landscape painters: perceptual liveliness, sensuous apprehension, reconciliation of subject (perceiver) and object, and visual (with emphasis on chromatic) effects. The methodology includes tracing Wordsworth's change in aesthetic values, contrasting his earlier imagery against his mature imagery, analyzing those images that express the principles of the "art of sensation," and pointing out where such poetic images have visual analogues in the painting of Constable, Turner and Monet. A Wordsworthian passage describing a particular perceptual experience is compared to the artistic effect in one (or sometimes several) of 24 illustrations appearing in one section of the dissertation. The thesis is best described as a classification analysis that compares work of art to work of art--emphasizing similarities in artistic perception between Wordsworth and the painters. My primary goal is to contribute to English Romantic scholarship a reading of Wordsworth as a pictorial poet whose imagery occasionally bears resemblance to the approach and techniques of some nineteenth century landscape painters.

Electronic reproduction.
Ann Arbor, Mich. :
ProQuest,
2023

Mode of access: World Wide Web

ISBN: 9798205090261Subjects--Topical Terms:

3433225
British and Irish literature.
Index Terms--Genre/Form:

542853
Electronic books.

The Fluent Image : = Affinities in the Aesthetics of William Wordsworth and Nineteenth-Century Landscape Painters.
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500 $a Source: Dissertations Abstracts International, Volume: 45-07, Section: A.
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502 $a Thesis (Ph.D.)--West Virginia University, 1984.
504 $a Includes bibliographical references
520 $a Looking at how the artist sees, rather than studying what he believes, we find in the early nineteenth century evidence that sensuous and dynamic perception is a basis for the creation of art. Wordsworth was conscious of this point, and when he depends on his eye, rather than on his heart or soul, he offers an imagery of fluency and sensation that parallels artistic images in the work of English Romantic painters John Constable and Joseph Mallord William Turner, and in the work of some French Impressionists, especially Claude Monet. Wordsworth, Constable, Turner and Monet are linked because each of these artists, despite the difference of medium, asks the same aesthetic question: "How do I see the object?" This study examines those passages in which Wordsworth perceives in a manner strikingly similar to that of the Romantic and Impressionist painter. In some of Wordsworth's descriptions of nature in and after Lyrical Ballads, there is a dynamism and fluency of imagery having affinities to the landscapes of Constable, Turner and Monet. Four critical axes are used to determine specifically where parallels exist between Wordsworth and the landscape painters: perceptual liveliness, sensuous apprehension, reconciliation of subject (perceiver) and object, and visual (with emphasis on chromatic) effects. The methodology includes tracing Wordsworth's change in aesthetic values, contrasting his earlier imagery against his mature imagery, analyzing those images that express the principles of the "art of sensation," and pointing out where such poetic images have visual analogues in the painting of Constable, Turner and Monet. A Wordsworthian passage describing a particular perceptual experience is compared to the artistic effect in one (or sometimes several) of 24 illustrations appearing in one section of the dissertation. The thesis is best described as a classification analysis that compares work of art to work of art--emphasizing similarities in artistic perception between Wordsworth and the painters. My primary goal is to contribute to English Romantic scholarship a reading of Wordsworth as a pictorial poet whose imagery occasionally bears resemblance to the approach and techniques of some nineteenth century landscape painters.
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