Entry into Jerusalem 下载 pdb txt pdf 百度云 kindle umd 夸克云

John Worth is a painte***ith a genuine calling, and a real gift. But he seems in some sense subdued. His radical girlfriend has a ready diagnosis: she tells him that his work will never come to more than decoration if he does not infuse it with social meaning, political meaning. Because she is a substantial person he has to c***ide***hat she says, and it hurts-he's just not the man for the job. Stubbornly, instinctively, Worth resists. His dealer's advisor has glimpsed something in Worth's paintings that has made him buy, quietly, a number of the works for himself. He pays a visit to the artist, and suggests that he do something violent, if only as an experiment. Battered by this time, he agrees to think about it. He paints a picture airless as a De Chirico, and filled with the symbols of destruction. His friend denounces what seems to her to be the pornography of violence with no human reference, a mere icon of death. Worth understands that the judgment touches not only the work but his character. He is angry and disheartened. His life becomes disordered, unhappy. But somehow, in his trouble and loneliness, he finds himself breaking new ground. He has always been workmanlike and steady. Now he works endlessly, with a pertinacity that looks like rage, as he begins to see his way. And as his art changes, his life is not spared the accidents of mortality. His girl leaves him, a good friend has a breakdown and kills himself. But within a year a big London exhibition of his work is arranged, the precocious climacteric of his life and art-best expressed in the violent shock of one large canvas, a modern Christ's entry into a modem Jerusalem, bringing not peace but a sword.

暂无相关目录，正在全力查找中！

暂无相关内容，正在全力查找中

暂无出版社相关信息，正在全力查找中！

暂无相关书籍摘录，正在全力查找中！

在线阅读地址：Entry into Jerusalem在线阅读

在线听书地址：Entry into Jerusalem在线收听

在线购买地址：Entry into Jerusalem在线购买

暂无原文赏析，正在全力查找中！

书籍介绍

John Worth is a painte***ith a genuine calling, and a real gift. But he seems in some sense subdued. His radical girlfriend has a ready diagnosis: she tells him that his work will never come to more than decoration if he does not infuse it with social meaning, political meaning. Because she is a substantial person he has to c***ide***hat she says, and it hurts-he's just not the man for the job. Stubbornly, instinctively, Worth resists. His dealer's advisor has glimpsed something in Worth's paintings that has made him buy, quietly, a number of the works for himself. He pays a visit to the artist, and suggests that he do something violent, if only as an experiment. Battered by this time, he agrees to think about it. He paints a picture airless as a De Chirico, and filled with the symbols of destruction. His friend denounces what seems to her to be the pornography of violence with no human reference, a mere icon of death. Worth understands that the judgment touches not only the work but his character. He is angry and disheartened. His life becomes disordered, unhappy. But somehow, in his trouble and loneliness, he finds himself breaking new ground. He has always been workmanlike and steady. Now he works endlessly, with a pertinacity that looks like rage, as he begins to see his way. And as his art changes, his life is not spared the accidents of mortality. His girl leaves him, a good friend has a breakdown and kills himself. But within a year a big London exhibition of his work is arranged, the precocious climacteric of his life and art-best expressed in the violent shock of one large canvas, a modern Christ's entry into a modem Jerusalem, bringing not peace but a sword.