Chapter 5 of Andrews' book ('Landscape and Western Art') is a diversion about incorporating a bit of interior within a landscape in order to frame the outside view. He describes some interesting works, but the discussion isn't relevant to my current interests.
I feared Chapter 6 ('Astonished beyond Expression') might be equally off the point as it's sub-titled 'Landscape, the Sublime, and the Unpresentable' and earthquakes, precipices, torrents and avalanches don't feature much in my local views.
However, part way through my reading of the chapter I made the following (pretentiously expressed) note-to-self: 'Is there a way to use painting to communicate the (Sublime?) 'something-rather-than-nothing' insight (brute fact) evident even in the mundane, in everydayness?' Only to have my cryptic question answered almost immediately in a concluding discussion of Cézanne's later works: 'The inexpressible, 'unpresentable' properties of landscape, its power to dislocate and renew vision, are not confined to the great scenic spectacles of the world. The Sublime happens anywhere, once the film of familiarity is lifted or pierced.'
Part of the thrust of the chapter is that in the face of the Sublime our powers of expression fall woefully short; we are lost for words, or for ways to depict the experience visually. So a new language is called for, a novel way to lay hold of the sensation: 'the forms of nature, objectively portrayed, are not only inadequate but inappropriate as a means of representing the Sublime'. Hence we observe qualities of obscurity and indeterminacy in the works chosen by Andrews to make this point, paintings by Friedrich, Strindberg... and Cézanne.
Now, as yet, I don't really get Cézanne. The Ashmolean, in an exhibition entitled 'Cézanne and the Modern', displayed a collection of what I took to be washed out works, similar to Andrews' example (above). To my shame I walked past them, eager to reach the other, more meaty, 'Moderns' - van Gogh, Degas, Soutine (especially Soutine)...
But since then one or two things have steered me towards a reappraisal of Cézanne (Andrews' chapter 6 included) and now I have a book about him...
(See post of 10/02/2019, and following.)