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XVIII THE VISUAL MEMORY
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The memory is the great storehouse of artistic1 material, the treasures of which the artist may know little about until a chance association lights up some of its dark recesses2. From early years the mind of the young artist has been storing up impressions in these mysterious chambers3, collected from nature's aspects, works of art, and anything that comes within the field of vision. It is from this store that the imagination draws its material, however fantastic and remote from natural appearances the forms it may assume.
How much our memory of pictures colours the impressions of nature we receive is probably not suspected by us, but who could say how a scene would appear to him, had he never looked at a picture? So sensitive is the vision to the influence of memory that, after seeing the pictures of some painter whose work has deeply impressed us, we are apt, while the memory of it is still fresh in our minds, to see things as he would paint them. On different occasions after leaving the National Gallery I can remember having seen Trafalgar Square as Paolo Veronese, Turner, or whatever painter may have impressed me in the Gallery, would have painted it, the memory of their work colouring the impression the scene produced.
257But, putting aside the memory of pictures, let us consider the place of direct visual memory from nature in our work, pictures being indirect or second-hand4 impressions.
We have seen in an earlier chapter how certain painters in the nineteenth century, feeling how very second-hand and far removed from nature painting had become, started a movement to discard studio traditions and study nature with a single eye, taking their pictures out of doors, and endeavouring to wrest5 nature's secrets from her on the spot. The Pre-Raphaelite movement in England and the Impressionist movement in France were the results of this impulse. And it is interesting, by the way, to contrast the different manner in which this desire for more truth to nature affected6 the French and English temperaments
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1
artistic
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adj.艺术(家)的,美术(家)的;善于艺术创作的 | |
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recesses
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n.壁凹( recess的名词复数 );(工作或业务活动的)中止或暂停期间;学校的课间休息;某物内部的凹形空间v.把某物放在墙壁的凹处( recess的第三人称单数 );将(墙)做成凹形,在(墙)上做壁龛;休息,休会,休庭 | |
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3
chambers
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n.房间( chamber的名词复数 );(议会的)议院;卧室;会议厅 | |
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second-hand
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adj.用过的,旧的,二手的 | |
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wrest
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n.扭,拧,猛夺;v.夺取,猛扭,歪曲 | |
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affected
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adj.不自然的,假装的 | |
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temperaments
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性格( temperament的名词复数 ); (人或动物的)气质; 易冲动; (性情)暴躁 | |
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temperament
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n.气质,性格,性情 | |
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intensity
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n.强烈,剧烈;强度;烈度 | |
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poetic
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adj.富有诗意的,有诗人气质的,善于抒情的 | |
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synthetic
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adj.合成的,人工的;综合的;n.人工制品 | |
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vividly
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adv.清楚地,鲜明地,生动地 | |
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pictorial
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adj.绘画的;图片的;n.画报 | |
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memorable
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adj.值得回忆的,难忘的,特别的,显著的 | |
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impelled
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v.推动、推进或敦促某人做某事( impel的过去式和过去分词 ) | |
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utterance
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n.用言语表达,话语,言语 | |
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apprehends
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逮捕,拘押( apprehend的第三人称单数 ); 理解 | |
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inception
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n.开端,开始,取得学位 | |
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purely
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adv.纯粹地,完全地 | |
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derived
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vi.起源;由来;衍生;导出v.得到( derive的过去式和过去分词 );(从…中)得到获得;源于;(从…中)提取 | |
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utterly
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adv.完全地,绝对地 | |
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prosaic
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adj.单调的,无趣的 | |
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pigment
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n.天然色素,干粉颜料 | |
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anatomy
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n.解剖学,解剖;功能,结构,组织 | |
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expressive
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adj.表现的,表达…的,富于表情的 | |
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memorise
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vt.记住,熟记 | |
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fully
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adv.完全地,全部地,彻底地;充分地 | |
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technically
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adv.专门地,技术上地 | |
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faculty
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n.才能;学院,系;(学院或系的)全体教学人员 | |
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systematically
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adv.有系统地 | |
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sketch
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n.草图;梗概;素描;v.素描;概述 | |
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persevering
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a.坚忍不拔的 | |
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33
scribbling
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n.乱涂[写]胡[乱]写的文章[作品]v.潦草的书写( scribble的现在分词 );乱画;草草地写;匆匆记下 | |
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fumbling
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n. 摸索,漏接 v. 摸索,摸弄,笨拙的处理 | |
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frankly
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adv.坦白地,直率地;坦率地说 | |
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illustrating
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给…加插图( illustrate的现在分词 ); 说明; 表明; (用示例、图画等)说明 | |
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fleeting
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adj.短暂的,飞逝的 | |
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enjoyment
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n.乐趣;享有;享用 | |
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disposition
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n.性情,性格;意向,倾向;排列,部署 | |
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remarkable
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adj.显著的,异常的,非凡的,值得注意的 | |
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tune
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n.调子;和谐,协调;v.调音,调节,调整 | |
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vitality
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n.活力,生命力,效力 | |
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alas
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int.唉(表示悲伤、忧愁、恐惧等) | |
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decided
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adj.决定了的,坚决的;明显的,明确的 | |
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faculties
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n.能力( faculty的名词复数 );全体教职员;技巧;院 | |
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prone
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adj.(to)易于…的,很可能…的;俯卧的 | |
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thoroughly
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adv.完全地,彻底地,十足地 | |
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knack
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n.诀窍,做事情的灵巧的,便利的方法 | |
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sensuous
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adj.激发美感的;感官的,感觉上的 | |
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rhythmic
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adj.有节奏的,有韵律的 | |
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drawn
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v.拖,拉,拔出;adj.憔悴的,紧张的 | |
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instinctively
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adv.本能地 | |
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craftsman
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n.技工,精于一门工艺的匠人 | |
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laboriously
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adv.艰苦地;费力地;辛勤地;(文体等)佶屈聱牙地 | |
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XIX PROCEDURE
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