[揽瓜阁精读] 316. landscape painting Luminists

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In the history of nineteenth-century landscape painting in the United States, the Luminists are distinguished by their focus on atmosphere and light. The accepted view of Luminist paintings is that they are basically spiritual and imply a tranquil mysticism that contrasts with earlier American artists’ concept of nature as dynamic and energetic. According to this view, the Luminist atmosphere, characterized by “pure and constant light,” guides the onlooker toward a lucid transcendentalism, an idealized vision of the world.

What this view fails to do is to identify the true significance of this transcendental atmosphere in Luminist paintings. The prosaic factors that are revealed by a closer examination of these works suggest that the glowing appearance of nature in Luminism is actually a sign of nature’s domestication, its adaptation to human use. The idealized Luminist atmosphere thus seems to convey, not an intensification of human responses to nature, but rather a muting of those emotions, like awe and fear, which untamed nature elicits.

One critic, in describing the spiritual quality ofharbor scenes by Fitz Hugh Lane, an important Luminist, carefully notes that “at the peak of Luminist development in the 1850s and 1860s,spiritualism in America was extremely widespread.” It is also true, however, that the 1850s and 1860s were a time of trade expansion. From 1848 until his death in 1865, Lane lived in a house with a view of the harbor of Gloucester, Massachusetts, and he made short trips to Maine, New York, Baltimore, and probably Puerto Rico. In all of these places he painted the harbors with their ships—the instruments of expanding trade.

Lane usually depicts places like New York Harbor, with ships at anchor, but even when he depicts more remote, less commercially active harbors, nature appears pastoral and domesticated rather than primitive or unexplored. The ships, rather than the surrounding landscapes—including the sea—are generally the active element in his pictures. For Lane the sea is, in effect, a canal or a trade route for commercial activity, not a free, powerful element, as it is in the early pictures of his predecessor, Cole. For Lane nature is subdued, even when storms are approaching; thus, the sea is always a viable highway for the transport of goods.

In sum, I consider Lane’s sea simply an environment for human activity—nature no longer inviolate. The luminescence that Lane paints symbolizes nature’s humbled state, for the light itself is as docile as the Luminist sea, and its tranquillity in a sense signifies no more than good conditions on the highway to progress. Progress, probably even more than transcendence, is the secret message of Luminism. In a sense, Luminist pictures are an ideological justification of the atmosphere necessary for business, if also an exaggerated,idealistic rendering of that atmosphere.

azay

P1 19世纪的美国风景画根据气氛和灯光将luminist区分。
P2 luminist的气氛不是人类对自然的回应1，而是敬畏和害怕这些情绪的混合。
P3 lane说luminist发展最鼎盛的时期，spiritualism在美国流行
P4 对于lane来说自然只是货物运输的高速路
P5 自然的平静代表的只是高速路的良好状况

Bonet

P1：luminists是因为关注气氛和光线而被区分出来的。对于L画作的普遍评价是：精神上的，一种静态的神秘主义，与早期美国艺术家的动态有活力的自然是不同的。L所注重的氛围，是一种理想化的世界。

P2：这不是L的真正内核（没能够定义L画作中的真正意义，即那种transcendental atmosphere）。理想化的L传达的不是人类对自然反应的强化，而是对那些未驯服的自然所引发的敬畏和恐惧情感的减弱。

P3：FHL 观点：L1850s-860s迅猛发展的时期，精神主义也在广泛传播。但是 这也是货运扩张的时代

P4：Lane的画作中展示的都是被驯化的自然。他认为海洋一直是货物运输的高速公路。

P5：总之，我认为Lane’s sea是人类活动的环境，自然不再是不可侵犯的。L派画作是商业所需的氛围的理想解释，也是这种氛围的夸张化 理想化的渲染

zjyblueflag

-结构
第一段：Luminists特点——对于该派画家画作的观点：象征着理想世界
第二段：反驳上面的观点——认为是反映了‘a sign of nature’s domestication, its adaptation to human use.，以及’人们对于未能驯服的自然的负面情绪
第三段：举出该派画家的一个例子FHL
第四段：FHL画作的反映——nature is subdued，活跃的元素都有关商业因素
第五段：作者的观点：认为该派画作反映的“大自然不再不可侵犯”，是对于商业所需要氛围的辩护

-意图：
探讨Luminist paintings到底反映了什么，并支持“该派画作反映“大自然不再不可侵犯”，反映了商业所需要氛围”的观点

反思：这篇文章其实只要看懂了第二段说的这句话“a sign of nature’s domestication, its adaptation to human use”，就能大致理解了，后面的一些词语比如subdue都是这句话的同义替换

mysticism        神秘主义
tranquil        宁静的
prosaic        平淡的
intensification        激烈化
muting        减缓（mute静音）
awe        敬畏；惊叹
untamed        未驯服的;未受抑制的;
elicit        引起；引出
subdue        制服；征服
docile        温顺的；顺服的

ppppcc

P1：
在十九世纪，风景画展现了精神层面的特点，具有神秘主义，让人们感受到一个理想世界。（提出一个现象观点）
P2：
而这个观点没有真正辨别出他们画作中真正重要的东西。它展现出的是自然的驯化，是适应于人们的使用。他们表达的atmosphere是被自然驯化过后的感情。（反驳第一段观点）
P3：
一个批评家说在精神主义盛行的时间段也是贸易扩张的时间段。随后举了一个例子，Lane画了很多关于海岸的事物。（继续支持第二段的反驳）
P4：
Lane的画中更多展现的不是自然原始的画面。在接着讲前一段引出的例子）
P5：
总结，作者认为Lane的海就像是人类的环境。L的画只是对氛围的夸张和渲染。
生词：tranquil平静的；lucid清楚的，清澈的；transcendentalism超验主义；domestication驯化；muting驯化；untamed未驯服的，不能控制的；elicits引出、探出；pastoral牧师的，田园的；luminescence冷光；docile温顺的，驯服的

吱野

查不喜欢

P1：accepted view ——Luminists spiritual and imply a tranquil mysticism vs dynamic and energetic；
P2：作者观点：反对，上面的view fails to do is to identify the true significance of this transcendental atmosphere——阐释：不是自然的加强而是感情的削弱
P3：一个质疑：spiritual quality 已经很广泛，举例lane——作者反驳 ：是贸易的扩张（举例lane）
P4：进一步举例说明lane的画作：nature appears pastoral and domesticated rather than primitive or unexplored.
P5： Lane’s sea simply an environment for human activity

calll

生词:
Luminists, prosaic, tranquil

1.        讲历史上的画家的某一分支(用色彩来着重表达氛围和光线)
2.        Luminists 的画不是表达人类对自然的反应, 而是弱化对大自然的恐惧
3.        Luminist 的发展和美国trade的发展相关. 派系代表之一Lane画很多的船和海
4.        Lane的画里对所有事物的区分(active element / tone)
5.        作者对Lane的画的看法

哇哇哇wa

已看

毛甲鱼

P1        ▪ 美国19th-C 风景画，the L focus on atmosphere and light
                ○ Accepted view: the L painting-spiritual & tranquil mysticism
                        § -->lucid transcendentalism, idealized vision of the world
P2        ▪ This view fails to identify the true significance of atmosphere
                ○ But a sign of Nature's domestication
                        § Convey emotions like awe and fear
P3        ▪ One critic's comment on painting by FHL - at peak of luminist development 1850-60, spiritualism
                ○ But 1850-60 trade expansion
                ○ FHL lived near harbor and painted harbors during the time of trade expansion
P4        ▪ FHL's paintings features
                ○ Nature: pastoral and domesticated rather than primitive or unexplored
                ○ Ships are active element in pics
                ○ Difference between FHL and Cole
                        § FHL's sea is for commercial activity
P5        ▪ Author: FHL's sea as an environment for human activity
                ○ Progress- the secret message of Luminism
ideological justification of the atmosphere necessary for business