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The geology and economics behind the Anthropocene theory that humans are disastrously overpowering natural forces has been questioned by many scientists. Burtynsky’s images can also be interpreted in different ways, either as dramatic illustrations of man’s innovation and technological genius, or as evidence that humans are committing a “despoiling of the planet,” as Burtynsky put it.

Through his Anthropocene art, Burtynsky and his associates are using images of industrial activity to convey ominous and alarming views of human activity. It’s a view that’s in stark contrast with the impressionists’ art of the Industrial Age.

One of the impressionist paintings demonstrates the sharp difference in world views. When Vincent van Gogh wasn’t painting sunflowers and pastoral scenes, he turned to observing the growing industrial world taking shape around him in France. The painting, “Factories at Clichy,” has all the Van Gogh brush and colour techniques, except that its prime focus is an industrial smoke-belching factory.

Rather than portray the factory as a menace to society, Van Gogh turns the factory into an object of industrial beauty. In her introduction to the exhibit catalogue, Shields comments on the significance of the giant factory images:

“In Van Gogh’s painting, across the field, two small figures in the middle ground, their backs to us, behold this site. Dwarfed by the monumental smokestacks that tower above them, they offer a sense of scale. Whereas in the Romantic landscape paintings… small figures such as these might invite the viewer to consider the awesome power of God and nature, here they point to the power of industry.”

As the AGO show closes, it leaves behind a view of industry and the world that elevates human creativity and progress, which is a vast improvement over the apocalyptic “Anthropocene” exhibit.

• Email: tcorcoran@nationalpost.com | Twitter: terencecorcoran