واقعه ای در زندگی یک نقاش منظره الفارسية 1401

Johan Moritz Rugendas, whom Humboldt himself admired as a master in the pictorial art of the physiognomy of nature, was the best of the few traveling painters in the West. His second trip to America, which lasted throughout his youth, from 1831 to 1847, resulted in thousands of oil paintings, watercolors and drawings whose subject matter, as indicated by the genre, were primarily tropical jungles and mountains. But the secret objective of his trip was Argentina: only there, he thought, in the mysterious void that existed at the point equidistant from the horizons on the immense plains, could he find the reverse of his art. He visited it on two occasions: in 1847, in Buenos Aires, he recorded in abundance the landscapes and types of the River Plate, and this was his most fruitful visit. Ten years earlier, however, a brief and dramatic visit to Mendoza was what gave him the opportunity to venture to the dream center. On the very slow trail of the giant carts, Rugendas stood, with childish urgency, on the path of the interpampeana straight, waiting for that which, finally, would challenge his pencil and force him to create a new procedure. He was accompanied by the German painter Robert Krause. Without a doubt, Rugendas touched, even for a few moments, that impossible center, except that at an immense price, one could almost say monstrous in exorbitant nature. A strange episode, which he could not help but absorb, savagely, into his entire body, interrupted the journey and marked in an irreversible, fulminating way, his life: his art and his youth.