This week on a visit to the Sterling and Francine Art Institute, I saw again this painting by Inness, one of my favorites. An October 17th
recent New Yorker article on Ursula Le Guin states, “From Thomas Hardy, she learned to handle strong feelings infiction by pouring them into landscapes, letting the settings carry part of the emotional charge. ‘There’s a patronizing word for that: the “pathetic fallacy,”’ she says. ‘It’s not a fallacy; it’s art.’” (p. 40)
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