Joseph Mallord William Turner – Mer de Glace, in the Valley of Chamouni, Switzerland
1803. 71×104
Location: Yale Center for British Art, Paul Mellon Collection, New Haven.
На эту операцию может потребоваться несколько секунд.
Информация появится в новом окне,
если открытие новых окон не запрещено в настройках вашего браузера.
Для работы с коллекциями – пожалуйста, войдите в аккаунт (open in new window).
Поделиться ссылкой в соцсетях:
You cannot comment Why?
Here we see a group of figures – seemingly shepherds with their flock – positioned near the middle ground, providing a sense of human presence within this monumental natural setting. Their small stature underscores the overwhelming power and indifference of the environment. The glacier itself is rendered in muted tones of grey, white, and blue, conveying its coldness and solidity. The artist has employed a loose, expressive brushstroke throughout, particularly noticeable in the depiction of the sky and the swirling mists that partially conceal the higher elevations. This technique contributes to an atmosphere of drama and uncertainty.
Subtly, the painting conveys a sense of sublime awe – a feeling of both wonder and terror evoked by confronting natures grandeur. The obscured peaks suggest the limits of human understanding and control in the face of such forces. The presence of the shepherds hints at humanity’s attempt to coexist with this powerful environment, yet their smallness reinforces their vulnerability. There is an underlying melancholy present; the receding glacier might be interpreted as a symbol of loss or impermanence, hinting at the transient nature of even the most seemingly enduring features of the landscape. The overall effect is one of profound contemplation on the relationship between humanity and the natural world, highlighting its beauty alongside its potential for overwhelming power.