Ut pictura poesis is a Latin phrase literally meaning “as is painting so is poetry”. The statement . Rensselaer, W. Lee (). Ut Pictura Poesis: The humanistic. Title. Ut pictura poesis: the humanistic theory of painting / by Rensselaer W. Lee. Author. Lee, Rensselaer Wright, Published. New York ; London: W. W. Donor challenge: Your generous donation will be matched 2-to-1 right now. Your $5 becomes $15! Dear Internet Archive Supporter,. I ask only once a year.
|Published (Last):||16 May 2010|
|PDF File Size:||1.52 Mb|
|ePub File Size:||12.73 Mb|
|Price:||Free* [*Free Regsitration Required]|
Nelson and Richard Shiff Chicago: The Humanistic Theory of Painting.
ut pictura poesis
Perceptions and Judgments He recommends that poetry and painting should not be confused, and that they are best practiced and appreciated “as two equitable and friendly neighbors. Renaissance and Poesia scholars have used u. Since the early 20th century the study of the Horatian simile has been revitalized to discuss the theoretical underpinnings both of Chinese-influenced visually oriented poetry and of increasingly verbal visual arts expressions.
Reynolds Roberto Kutcher W. He considered both painting and poetry to be equals, and “it can easily be seen that he held that there was a close relationship between the art of poetry and the art of painting, especially perhaps since such a relationship combined the two arts of which he was a practitioner.
Equation and comparison of the so-called sister arts of poetry and painting do not begin with Horace. University of Chicago Press, poesus Some centuries before Simonides of Keos c. Lessing argues that painting is a synchronic, visual phenomenon, one of space that is immediately in its entirety understood and appreciated, while poetry again, in its widest sense is a diachronic art of the ear, one that depends on time to unfold itself for the reader’s appreciation.
Moving on from Plato’s time to the Renaissance, the argument sprung up of which form was superior. The belle is identified in many ways with the display of vessels and treasures around her, both as a consumer and as a figure who takes on ppictura of the properties of those riches, yet her attractions are in the end not so much displayed as set in motion; she ‘rises in her charms’, ‘awakens’ and ‘calls forth’ her wonders and graces, culminating in the dispersal of both her body and her allure in the reader’s eye.
Much like Horace, then, Poesks here establishes literature as an art form comparable to paintingin this case in its objects, capabilities, and limitations in imitation.
Ut pictura poesis; the humanistic theory of painting
From Wikipedia, the free encyclopedia. Mitchell trenchantly observed that “We tend to think that to compare poetry with painting is to make a metaphorwhile to differentiate poetry from painting is to state a literal truth. Though of minor significance within the Ars Poetica itself, u.
Lee, Ut Pictura Poesis: The statement often repeated occurs most famously in Horace ‘s Ars Poeticanear the end, immediately after another famous quotation, “bonus dormitat Homerus”, or ” even Homer nods ” an indication that even the most skilled poet can compose inferior verse:.
In general, ancient suggestions of u. If poetry is like paintingthe medium is not the message.
Date format All articles with unsourced statements Articles with unsourced statements from November Articles with unsourced statements from December Quoting from English translation.
The Horatian simile is formulated at the end piftura a discussion warning the poet to avoid blemishes, though some may be excusable if the work in general possesses great beauty. Citing Homer, Lessing argues that, though minor violations may be acceptable, poetry should describe in a narrative manner, indicating qualities only within a narrative frame whenever possible, while painting should confine itself to one moment, not attempting a depiction of any narrative swath.
Rebecca Ferguson, in ele essay “‘Quick as her Eyes, and as unfix’d as those’: Horace meant that poetry in its widest sense, “imaginative texts” merited the same careful interpretation that was, in Horace’s day, reserved for painting.
As Larrabee, Rensselaer W. Sydney Studies in English. Marshall McLuhan, Understanding Media: In this highly influential textLessing draws attention to the traditional distinction between literary and visual art: An Essay on the Limits of Painting and Poetry [ citation needed ] by observing that “the first who compared painting with poetry [ Simonides of Ceos ] was a man of fine feeling,”  though, Lessing makes it clear, not a critic or philosopher.
Here, the eminent German playwright and critic argues against the equation of method and objects of the sister arts. The lack of credibility rested on his opinion that both forms of art gave a false simulation of reality. During this period, the simile was frequently drawn out, regularly equating along Aristotelian lines design with plot, and expression with color.