Peter Blume’s The Rock (1944–48) and the Post-war Landscape
Peter Blume’s The Rock, a painting that preoccupied the artist for the duration of the war (although he did not complete it until 1948), combines evidence of death and destruction alongside signs of renewal. In tune with a future-oriented ethos of that time, The Rock acknowledged destruction in the...
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| Vydáno v: | URI:https://journals.openedition.org/ranam, |
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| Hlavní autor: | |
| Médium: | Article ou chapitre numérique |
| Jazyk: | Anglais |
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Recherches anglaises et nord-américaines
2024
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| Témata: | |
| On-line přístup: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
| Shrnutí: | Peter Blume’s The Rock, a painting that preoccupied the artist for the duration of the war (although he did not complete it until 1948), combines evidence of death and destruction alongside signs of renewal. In tune with a future-oriented ethos of that time, The Rock acknowledged destruction in the past but nevertheless held out hope for what lay ahead by reasserting the possibility of rebuilding through human cooperation. This article examines how Blume’s painting spoke to an emergent global consciousness that in its most idealistic form presaged a future of liberal humanism, but that, in its most crass form, eventually led to the development of global commercial networks and the exhaustion of natural resources. |
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