C. Lewis HindCritiques
Auteur de Turner (Masterpieces in Colour)
Critiques
Opening lines:
THE apparition of Watteau in France in the early eighteenth century may be likened to the apparition of Giotto in Italy in the early fourteenth. Each was a genius; each broke away from the herd; each gave to the world a new vision; each inspired a school. But there the resemblance ends. Giotto's art was Christian, Watteau's Pagan; or, in other[Pg 12] words, Giotto lived in an age when the aim of art was to teach religion, Watteau—well, his pictures were designed to delight. Giotto sought to remind men of Christianity, to bring them humbly to their knees with representations (marvellously fresh in those days when art was still groping in the Byzantine twilight) of the life of the Founder of Christianity, all its pathos, pity, and promise. Watteau gave joy and exhiliration to a generation temporally dull and morose, chilled by the academical art of the period, and apparently content with it. Watteau appeared: the little world about him looked at his pictures and, what a change! "Paris dressed, posed, picnicked, and conversed à la Watteau."
Free download available at Gutenberg Project
Opening lines:
THE apparition of Watteau in France in the early eighteenth century may be likened to the apparition of Giotto in Italy in the early fourteenth. Each was a genius; each broke away from the herd; each gave to the world a new vision; each inspired a school. But there the resemblance ends. Giotto's art was Christian, Watteau's Pagan; or, in other[Pg 12] words, Giotto lived in an age when the aim of art was to teach religion, Watteau—well, his pictures were designed to delight. Giotto sought to remind men of Christianity, to bring them humbly to their knees with representations (marvellously fresh in those days when art was still groping in the Byzantine twilight) of the life of the Founder of Christianity, all its pathos, pity, and promise. Watteau gave joy and exhiliration to a generation temporally dull and morose, chilled by the academical art of the period, and apparently content with it. Watteau appeared: the little world about him looked at his pictures and, what a change! "Paris dressed, posed, picnicked, and conversed à la Watteau."
Free download available at Gutenberg Project
Opening lines:
THE apparition of Watteau in France in the early eighteenth century may be likened to the apparition of Giotto in Italy in the early fourteenth. Each was a genius; each broke away from the herd; each gave to the world a new vision; each inspired a school. But there the resemblance ends. Giotto's art was Christian, Watteau's Pagan; or, in other[Pg 12] words, Giotto lived in an age when the aim of art was to teach religion, Watteau—well, his pictures were designed to delight. Giotto sought to remind men of Christianity, to bring them humbly to their knees with representations (marvellously fresh in those days when art was still groping in the Byzantine twilight) of the life of the Founder of Christianity, all its pathos, pity, and promise. Watteau gave joy and exhiliration to a generation temporally dull and morose, chilled by the academical art of the period, and apparently content with it. Watteau appeared: the little world about him looked at his pictures and, what a change! "Paris dressed, posed, picnicked, and conversed à la Watteau."
Free download available at Gutenberg Project
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THE apparition of Watteau in France in the early eighteenth century may be likened to the apparition of Giotto in Italy in the early fourteenth. Each was a genius; each broke away from the herd; each gave to the world a new vision; each inspired a school. But there the resemblance ends. Giotto's art was Christian, Watteau's Pagan; or, in other[Pg 12] words, Giotto lived in an age when the aim of art was to teach religion, Watteau—well, his pictures were designed to delight. Giotto sought to remind men of Christianity, to bring them humbly to their knees with representations (marvellously fresh in those days when art was still groping in the Byzantine twilight) of the life of the Founder of Christianity, all its pathos, pity, and promise. Watteau gave joy and exhiliration to a generation temporally dull and morose, chilled by the academical art of the period, and apparently content with it. Watteau appeared: the little world about him looked at his pictures and, what a change! "Paris dressed, posed, picnicked, and conversed à la Watteau."
Free download available at Gutenberg Project