Ars: časopis Ústavu Dejín Umenia Slovenskej Akadémie Vied (44.2011)

4. NNG Po^w'%.'
7440 — 7444. P^Ey

bines the transcendental tunnel-experience with his
real expérience of the atmosphère. In this sense,
Turner was deeply inhuenced by the new icono-
graphie and aesthetic elements tnvented in Baroque
art.
7/. 3 <277í/ //2/orh/7Y7)'
Poussin and Lorrain invented a new dimension
of atmosphère. In his CyH? o/ which
is dominated by the landscape, Poussin turns the
religious meaning as an event of the nature into an
event of salvation [Figs. 6-9] A
Turner had a wide variety of images in his
landscapesA He was obsessed with tradition and
wanted to reach, or surpass, the celebrated land-
scapes of Claude Lorrain [Fig. 10]. When he died,
he left all his paintings and sketches to the state,
upon condition that his paintings would hang next
to a work of Claude Lorrain A What fascinated him
in Lorrain? What did he learn from him?

^ SAUERLÄNDER, W: Die Jahreszeiten. Ein Beitrag zur
allegorischen Landschaft beim späten Poussin. In:
ANGL Ar pjwM/, 7, 1956, pp. 169-184, here p. 183.
As the contrary thesis, see BADT, K.: AtN. P^^wE.
Köln 1969, pp. 556-568.

Inspired by ancient writers, Lorrain tried to recre-
ate their intellectual atmosphère. Lorrain followed
the tradition of the mythological idyllic landscape.
He was the hrst artist to stress to the public the
beauty of nature. After his death, générations of
artists and tourists came to Rome and Tivoli to see
the places of his famous paintings. For Goethe,
Lorrain's paintings were the climax in landscape
painting and inRuenced deeply his thinking about
the subject. Goethe understood the secret of his
paintings. He did not identify in Lorrain's work
an imitation of nature, noting instead that "... Ar
T<ANAgr Ai PwA, AL w ritA'A-
TAr A /A Avr gf 7// Lo/TA;?, Ai' iVpAAr
Airr^A..— Goethe thought that Lorrain understood
the essence of nature, because, in Goethe's words,
light is the divine and eternal principle, which lets
everything appear.
Lorrain did not pamt only what was visible to the
eye but — in a certain sense — that which he knew was
inside the object. Inspired by ancient writers, Lor-
^ TAwr; PEgc, Ap7-%?%... (see in note 5), p. 113.
^ ARGAN, G. G: Ebrň? ^cAr/7^, 7770 — 7470. Firenze 1968,
p. 67.

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