Why do we find ourselves returning to certain pictures time and again? What is it we are looking for? How does our understanding of an image change over time? In his latest book T. J. Clark addresses these questions - and many more - in ways that steer art writing into new territory.In early 2000, two extraordinary paintings by Poussin hung in the Getty Museum in a single room, Landscape with a Man Killed by a Snake (National Gallery, London) and the Getty's own Landscape with a Calm. Clark found himself returning to the gallery to look at these paintings morning after morning, and almost involuntarily he began to record his shifting responses in a notebook. The result is a riveting analysis of the two landscapes and their different views of life and death, but more, a chronicle of an investigation into the very nature of visual complexity, the capacity of certain images to sustain repeated attention, and how pictures respond to, but also resist, their viewers' deepest wishes. Clark's meditations - sometimes directly personal, sometimes speaking to the wider politics of our present image-world - track the experience of viewing art through all its real-life twists and turns.
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Margaret Iversen 和 Stephen Melville 在 Writing Art History 里简单地谈到克拉克在这本书中对“语-图之辩”的重审和超越，可谓指出了一点重要的意义。丹托曾批评这本书，我以为他的批评是不得要领的。
评分这真是一本奇特的书。。。。结尾部分论materialism和poussin创作之间的联系是神来之笔，给五分，择日去national gallery观赏他用一整本书写的两幅画作。
评分这真是一本奇特的书。。。。结尾部分论materialism和poussin创作之间的联系是神来之笔，给五分，择日去national gallery观赏他用一整本书写的两幅画作。
评分连续两年读克拉克在伦敦书评上的文章，我想我对这本书和他写作的整体保留在于他对待读者的态度和作为书写者姿态中的一些矛盾之处，这点他实在比不上施坦伯格纯粹作品出发的阐述能力。jonathan harris新评中言："Clark’s virtuoso readings of a number of key artworks...threaten to sabotage presuppositions of description's usual corrigibility." I wonder if such "sabotaging" is really healthy at all for the practice of interpretation.
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