Vet du vem som skrivit detta?

[Mona Lisa]

Några förslag på vem som kan ha författat detta?

"Let us take as an example of what I mean Raphael’s ”Transfiguration,” which a hundred years ago was perhaps the most admired picture in the world, and twenty years ago was one of the most neglected. It is at once apparent that this picture makes a very complex appeal to the mind and feelings. To those who are familiar with the Gospel story of Christ it brings together in a single composition two different events which occurred simultaneously at different places, the Transfiguration of Christ and the unsuccessful attempt of the Disciples during His absence to heal the lunatic boy. This at once arouses a number of complex ideas about which the intellect and feelings may occupy themselves. Goethe’s remark on the picture is instructive from this point of view. “It is remarkable,” he says, “that any one has ever ventured to query the essential unity of such a composition. How can the upper part be separated from the lower? The two form one whole. Below the suffering and the needy, above the powerful and helpful – mutually dependent, mutually illustrative.”
It will be seen at once what an immense complex of feelings interpreting and mutually affecting one another such a work sets up in the mind of a Christian spectator, and all this merely by the content of the picture, its subject, the dramatic story it tells.
Now if our Christian spectator has also a knowledge of human nature he will be struck by the fact that these figures, especially in the lower group, are all extremely incongruous with any idea he is likely to have formed of the people who surrounded Christ in the Gospel narrative. And according to this his prepossessions he is likely to be shocked or pleased to find instead of the poor and unsophisticated peasants and fisherfolk who followed Christ, a number noble, dignified, and academic gentlemen in improbable garments and purely theatrical poses. Again the representation merely as representation, will set up a number of feelings and perhaps of critical thoughts dependent upon innumerable associated ideas in the spectator’s mind.
Now all these reactions to the picture are open to any one who has enough understanding of natural form to recognise it when represented adequately. There is no need for him to have any sensibility to form as such.
Let us now take our spectator a person highly endowed with the special sensibility to form, who feels the intervals and relations of forms as a musical person feels the intervals and relations of tones, and let us suppose him either completely ignorant of, or indifferent to, the Gospel story. Such a spectator will be likely to be immensely excited by the extraordinary power of co-ordination of many complex masses in a single inevitable whole, by the delicate equilibrium of many directions of line. He will at once feel that the apparent division into two parts is only apparent, that they are co-ordinated by a quite peculiar power of grasping the possible correlations. He will almost certainly be immensely excited and moved, but his emotion will have nothing to do with the emotions which we have discussed hitherto, since in this case we have supposed our spectator to have no clue to them."

[Johan Ågren]

Är det en studieuppgift? http://en.wikipedia.org/wiki/Roger_Fry

/Johan

[Mona Lisa]

Ja det är en studieuppgift och jag sitter fast!!

[Johan Ågren]

Roger Fry - som sagt. Jag flyttar denna tråden till forumet "hjälp".

/Johan

[Mona Lisa]

Fry finns inte alls nämnd i kurslitteraturen, så det var riktigt svårlöst.

Tack snälla för hjälpen!!