French Art, Classic And Contemporary Painting And Sculpture
French Art, Classic And Contemporary Painting And Sculpture
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In our eReader you can find the full English version of the book. Read French Art, Classic And Contemporary Painting And Sculpture Online - link to read the book on full screen. Our eReader also allows you to upload and read Pdf, Txt, ePub and fb2 books. In the Mini eReder on the page below you can quickly view all pages of the book - Read Book French Art, Classic And Contemporary Painting And Sculpture
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Had Renault Uved, he would have more adequately — or should I say more plausibly? — marked the transition fi^om ro- manticism to realism. Temperamentally he was clearly a thor- ough romanticist — £u* more so, for instance, than his fiiend Fortuny, whose intellectual reserve is always conspicuous. He essayed the most vehement kind of subjects, even in the clas- sical field, where he treated them with truly romantic trucu- lence. He was himself always, moreover, and ideally cared as little for na...ture as a fitiry-story teller. In this sense he was more romantic than the romanticists. His '^Automedon," his portrait of Grcneral Prim, even his " Salome,** are wilful in a degree that is either superb or superficial, as one looks at them; but at any rate they are romantic a outrance. At the same time it was unmistakably the aspect of things rather than their significance, rather than his view of them, that appealed to him. He was farther away from the classic inspi- ration than any other romanticist of his fellows; and at the same time he cared for the external world more on its own account and less for its suggestions, than any painter of equal force before Courbet and Bastien-Lepage.
What to read after French Art, Classic And Contemporary Painting And Sculpture?
You can find similar books in the "Read Also" column, or choose other free books by Brownell, William Crary, 1851- [from Old Catalog] to read onlineMoreLess
To quickly assess the difficulty of the text, read a short excerpt:
Had Renault Uved, he would have more adequately — or should I say more plausibly? — marked the transition fi^om ro- manticism to realism. Temperamentally he was clearly a thor- ough romanticist — £u* more so, for instance, than his fiiend Fortuny, whose intellectual reserve is always conspicuous. He essayed the most vehement kind of subjects, even in the clas- sical field, where he treated them with truly romantic trucu- lence. He was himself always, moreover, and ideally cared as little for na...ture as a fitiry-story teller. In this sense he was more romantic than the romanticists. His '^Automedon," his portrait of Grcneral Prim, even his " Salome,** are wilful in a degree that is either superb or superficial, as one looks at them; but at any rate they are romantic a outrance. At the same time it was unmistakably the aspect of things rather than their significance, rather than his view of them, that appealed to him. He was farther away from the classic inspi- ration than any other romanticist of his fellows; and at the same time he cared for the external world more on its own account and less for its suggestions, than any painter of equal force before Courbet and Bastien-Lepage.
What to read after French Art, Classic And Contemporary Painting And Sculpture?
You can find similar books in the "Read Also" column, or choose other free books by Brownell, William Crary, 1851- [from Old Catalog] to read onlineMoreLess
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