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diff --git a/41621-h/41621-h.htm b/41621-h/41621-h.htm index 8206d41..7e42be8 100644 --- a/41621-h/41621-h.htm +++ b/41621-h/41621-h.htm @@ -2,7 +2,7 @@ "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> - <meta http-equiv="Content-Type" content="text/html;charset=iso-8859-1" /> + <meta http-equiv="Content-Type" content="text/html;charset=UTF-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg eBook of Watteau, by C. Lewis Hind. @@ -42,45 +42,7 @@ p.cap:first-letter { float: left; clear: left; margin: 0 0.1em 0 0; padding:0; l </style> </head> <body> - - -<pre> - -The Project Gutenberg EBook of Watteau, by C. Lewis Hind - -This eBook is for the use of anyone anywhere at no cost and with -almost no restrictions whatsoever. You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org - - -Title: Watteau - -Author: C. Lewis Hind - -Release Date: December 14, 2012 [EBook #41621] - -Language: English - -Character set encoding: ISO-8859-1 - -*** START OF THIS PROJECT GUTENBERG EBOOK WATTEAU *** - - - - -Produced by sp1nd, David E. Brown and the Online Distributed -Proofreading Team at http://www.pgdp.net (This file was -produced from images generously made available by The -Internet Archive) - - - - - - -</pre> - +<div>*** START OF THE PROJECT GUTENBERG EBOOK 41621 ***</div> <div class="figcenter"><img src="images/front_cover.jpg" alt=""/></div> <hr style="width: 65%;" /> @@ -242,7 +204,7 @@ NEW YORK: FREDERICK A. STOKES CO.</h4> <tr><td> </td><td><span style="margin-left: 2em;"><small>In the Dulwich Gallery</small></span></td><td> </td></tr> <tr><td colspan="3"> </td></tr> -<tr><td align="right">III.</td><td> L'Indifférent</td><td align="right"><a href="#Page_24">24</a></td></tr> +<tr><td align="right">III.</td><td> L'Indifférent</td><td align="right"><a href="#Page_24">24</a></td></tr> <tr><td> </td><td><span style="margin-left: 2em;"><small>In the Louvre, Paris</small></span></td><td> </td></tr> @@ -262,7 +224,7 @@ NEW YORK: FREDERICK A. STOKES CO.</h4> <tr><td> </td><td><span style="margin-left: 2em;"><small>In the Wallace Collection</small></span></td><td> </td></tr> <tr><td colspan="3"> </td></tr> -<tr><td align="right">VII.</td><td> Fête Champêtre</td><td align="right"><a href="#Page_59">59</a></td></tr> +<tr><td align="right">VII.</td><td> Fête Champêtre</td><td align="right"><a href="#Page_59">59</a></td></tr> <tr><td> </td><td><span style="margin-left: 2em;"><small>In the National Gallery of Scotland</small></span></td><td> </td></tr> @@ -300,7 +262,7 @@ 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."</p> +change! "Paris dressed, posed, picnicked, and conversed à la Watteau."</p> <p>Poor Watteau! He gave, he gives joy, but he was sad, discontented, distrustful of himself and others. Sometimes Nature makes a great effort @@ -353,8 +315,8 @@ Island of Cythera, the abode of Venus, whom they worship for the joy of worship, without any desire of possession. On those lovely shores they will find no continuing city. Watteau knows that. Oh! but he was a cynic was this Watteau whose palette was a rainbow, and whose vision was like -the flash of a kingfisher's wing in sunlight. Do you remember his "Fête -Champêtre" at Dresden, with the little exquisite figure of a woman +the flash of a kingfisher's wing in sunlight. Do you remember his "Fête +Champêtre" at Dresden, with the little exquisite figure of a woman seated on the ground turning away from the spectator? Oh, her bright hair, and the dress—I am a man; but what a dress! What skill and knowledge in the drawing and painting of it! This little lady is @@ -362,7 +324,7 @@ essentially Watteau, who loved pretty clothes and budding figures, and whose drawing was as dainty as the frocks he composed; yet I do not think she is the real Watteau. Cast your eye to the left of the picture where stands an elderly, disdainful dandy. You meet this looker-on again -and again in Watteau's pictures; he is in the Fête<span class="pagenum"><a name="Page_17" id="Page_17">[Pg 17]</a></span> Champêtre and yet +and again in Watteau's pictures; he is in the Fête<span class="pagenum"><a name="Page_17" id="Page_17">[Pg 17]</a></span> Champêtre and yet not of it; he knows how little all this affectation of gaiety really signifies; how transient is this commerce with joy, and yet he lingers there because in Watteau's world there is naught else to do. Yet he @@ -411,7 +373,7 @@ covering everything he could find with drawings, grotesque and otherwise, of the strolling players and mountebanks that<span class="pagenum"><a name="Page_19" id="Page_19">[Pg 19]</a></span> passed through the little town, he submitted to fate and placed him with the official painter of the municipality, named Gerin. Under him Watteau painted "La -Vraie Gaieté," his first important attempt at a picture. This was +Vraie Gaieté," his first important attempt at a picture. This was followed by "Le Retour de Guingette," and then his master died. The year was 1701, the age of Watteau seventeen.</p> @@ -422,8 +384,8 @@ youth to whom his calling was as the call of the sea to the sailor-born.</p> <p>If there was so much of interest in Valenciennes for a painter, what might not the capital offer of spectacular delights? So one morning -Antoine left home and walked to Paris, where he found work with Métayer, -a scene-painter; but Métayer's patronage soon ceased, and Watteau found +Antoine left home and walked to Paris, where he found work with Métayer, +a scene-painter; but Métayer's patronage soon ceased, and Watteau found himself alone in Paris. Now began his period of penury and the making of the master; also probably, through hunger and cold, the engendering of the disease, consumption, which was to force his genius to its<span class="pagenum"><a name="Page_20" id="Page_20">[Pg 20]</a></span> rapid @@ -506,11 +468,11 @@ real master.</p> (In the Louvre, Paris)</p> -<p class="captionpp">Through Watteau's dream-world trips "L'Indifférent," rainbow-hued, +<p class="captionpp">Through Watteau's dream-world trips "L'Indifférent," rainbow-hued, mercurial, his indifference assumed, not troubling to conceal the sad thoughtfulness that lurks in his expression. Who can describe Watteau's colour or his fashion of trickling on the paint? The technique of -"L'Indifférent" is marvellous.</p> +"L'Indifférent" is marvellous.</p> <p><span class="pagenum"><a name="Page_25" id="Page_25">[Pg 25]</a></span></p> <div class="figcenter"><img src="images/i_025.jpg" alt=""/></div> @@ -531,14 +493,14 @@ studied them, especially the works of Rubens. Restlessly he would roam the gardens of the Palace, enchanted and inspired by the figures wandering down the paths and grouping themselves under the great trees. Watteau, dallying in the gardens, remembering the theatrical methods of -Métayer, the subjects of Gillot, the flexibility and fancy of Audran, +Métayer, the subjects of Gillot, the flexibility and fancy of Audran, the daring of the great Rubens, began to develop into an original. Gradually, too, he grew restless, feeling that he was not wholly free to paint his dreams. A vague nostalgia persuaded his artistic temperament that it was his home he wanted to see—Valenciennes and his people. Be that as it may, this was the reason he gave for leaving Audran, who had always been kind and appreciative; although the wily painter of garlands -and arabesques tried to dissuade his <i>protégé</i> from painting pictures, +and arabesques tried to dissuade his <i>protégé</i> from painting pictures, fearing to lose so able an assistant in his own ornamental work. Before parting from Audran, Watteau made his first real essay in his second manner, a picture of "The Departure of the Troops," a reminiscence of @@ -574,7 +536,7 @@ himself to be enrolled. This he did and was duly elected, the inauguration fee in consideration of his circumstances being reduced to one hundred livres. And so in 1712, at the age of twenty-eight, the poor unknown, who failed to win the first prize in the <i>Prix de Rome</i>, was -made free of the Academy, was given the new title of <i>peintre des Fêtes +made free of the Academy, was given the new title of <i>peintre des Fêtes Galantes</i>, and became, almost in a bound, famous.</p> <p>Ill and moody, he worked incessantly at his drawings and the pictures @@ -584,11 +546,11 @@ work, he did not ratify his election to the Academy by sending in his diploma picture until 1717. The patience of the Academy being exhausted, he was reminded of the rule that each newly elected member must present a picture. In a brilliant dash he finished "The Embarkment for Cythera," -which was accepted on August 28, 1717, as his <i>pièce de reception</i>.</p> +which was accepted on August 28, 1717, as his <i>pièce de reception</i>.</p> <p>No longer was there poverty to contend with. Success followed success. The Academy had set its seal upon him. Everybody wanted Watteaus. In -1716, the year before he sent in his <i>pièce de reception</i>, he had gone +1716, the year before he sent in his <i>pièce de reception</i>, he had gone to live with M. de Crozat, whose beautiful house in the Rue Richelieu and his country mansion at Montmorency were filled with works of the old masters, drawings and paintings. We are told that Crozat possessed four @@ -636,8 +598,8 @@ finding lodgings at Greenwich.</p> <p>In London his physician, Dr. Mead, presented<span class="pagenum"><a name="Page_32" id="Page_32">[Pg 32]</a></span> him to the king, for whom he painted four pictures, which are now at Buckingham Palace. His health showed no improvement, and the English climate aggravated his illness. -In a letter to Gersaint he wrote of "<i>Le mauvais air qui regne à Londres -à cause de la vapeur du charbon de terre dont on fait usage</i>."</p> +In a letter to Gersaint he wrote of "<i>Le mauvais air qui regne à Londres +à cause de la vapeur du charbon de terre dont on fait usage</i>."</p> <p>Dr. Mead, aware no doubt that his condition was hopeless, advised him to return to Paris. This he did, and settled in the house of Gersaint, @@ -645,7 +607,7 @@ son-in-law to Sirois, for whom he painted the delightful picture called "Gersaint's Sign,"—"just to limber up his fingers," as he expressed it.</p> <p>Restlessness again seized him. He believed that he would recover in the -country. His friend the Abbé Haranger asked M. le Fèvre to find him +country. His friend the Abbé Haranger asked M. le Fèvre to find him accommodation in a house at Nogent, and thither he went in 1721.</p> <p>But the end was near, and Watteau, realising it, proceeded to set his @@ -667,7 +629,7 @@ cure him!</p> (In the Louvre, Paris)</p> -<p class="captionpp">In 1717 Watteau finished, after a long delay, his <i>pièce de reception</i> +<p class="captionpp">In 1717 Watteau finished, after a long delay, his <i>pièce de reception</i> for the Academy, the famous first study for "The Embarkment for Cythera." This picture was painted in seven days, and elaborated, but hardly improved, in the Potsdam version. Behold these ethereal and @@ -686,7 +648,7 @@ died suddenly in Gersaint's arms on July 18, 1721.</p> <p>He was artist to the end. "Take away that crucifix," he said to the priest; "it pains me. How could an artist dare to treat my Master so shockingly." It is said that one of the last remarks of this sensitive, -ill-balanced, disease-stricken man of genius was to beg the Abbé +ill-balanced, disease-stricken man of genius was to beg the Abbé Haranger to forgive him for having used his face and figure for his picture of "Gilles."</p> @@ -717,7 +679,7 @@ as stolid as Paul Potter's "Bull."</p> <p>I have an especial affection for "The Ball under a Colonnade" at Dulwich; for until the regal gift of Hertford House to the nation, with its nine Watteaus, this little "Ball under<span class="pagenum"><a name="Page_37" id="Page_37">[Pg 37]</a></span> a Colonnade," and in a -lesser degree its companion picture at Dulwich, a "Fête Champêtre," were +lesser degree its companion picture at Dulwich, a "Fête Champêtre," were my first wanderings in the lyric land of Watteau. The National Gallery which, before the present Director came into office, treated the French school with an indifference that almost amounted to disdain, does not @@ -734,7 +696,7 @@ Jones' Collection at South Kensington is a veritable Watteau.</p> France, which should be the richest, is poorer in number and importance than either Germany or England, although there are ten examples in the Louvre, including the original "Embarkment<span class="pagenum"><a name="Page_38" id="Page_38">[Pg 38]</a></span> for Cythera," -"L'Indifférent," and "Jupiter and Antiope."</p> +"L'Indifférent," and "Jupiter and Antiope."</p> <p> </p> <p><span class="pagenum"><a name="Page_39" id="Page_39">[Pg 39]</a></span></p> @@ -818,12 +780,12 @@ land—dream-land of his Pastorals. Then he began to live, and there were before him but five short years of life. He never again left this land of fantasy—except when, on his return from London, he painted "Gersaint's Sign," that model of modishness and grace, painted in eight -mornings, representing Gersaint's shop where <i>élégantes</i> buy +mornings, representing Gersaint's shop where <i>élégantes</i> buy masterpieces from shop-keepers as elegant as themselves. This picture, which is now in the possession of the German Emperor, has for some mysterious reason been divided into two portions.</p> -<p>In 1717, as I have related, he finished after a long delay his <i>pièce de +<p>In 1717, as I have related, he finished after a long delay his <i>pièce de reception</i> for the Academy, the famous first study for the "Embarkment for Cythera." What can be said of this picture, or of the more finished replica at Potsdam, that has not already been said a score of times? It @@ -834,13 +796,13 @@ and melting—one perfect whole, and over all is a lingering regret of "I know not what." This picture was painted in seven days, and elaborated, but hardly improved, in the Potsdam version.</p> -<p>Turn from this consummate work to his early "La Vraie Gaieté," inspired +<p>Turn from this consummate work to his early "La Vraie Gaieté," inspired by Teniers, which in essence is the same picture as "The Ball under a -Colonnade" at Dulwich, and even the "Amusements Champêtres" and the -"Champs Elysées" at Hertford House. The clothes are changed, the +Colonnade" at Dulwich, and even the "Amusements Champêtres" and the +"Champs Elysées" at Hertford House. The clothes are changed, the handling has become lighter and more accomplished—that is all. The observer, that saturnine, detached, cynical figure, who appears in so -many of Watteau's pictures, is already present in "La Vraie Gaieté." +many of Watteau's pictures, is already present in "La Vraie Gaieté." 'This solitary figure is, as I have already said, the symbol of Watteau himself, ever aloof, ever contemptuous, even when sharing in the scenic world of Watteau, where life, if not really true, is certainly not @@ -849,21 +811,21 @@ always afternoon, where "the charmed sunset lingered low adown in the red west ... and many a winding vale and<span class="pagenum"><a name="Page_45" id="Page_45">[Pg 45]</a></span> meadow, set with slender galingale." A mild melancholy possesses the inhabitants of this dream-world, for they are happy and yet a little sad, musing on what can -never be. Through this dream-world "L'Indifférent" trips lightly, +never be. Through this dream-world "L'Indifférent" trips lightly, typical of Watteau, rainbow-hued, mercurial, his indifference assumed, not troubling to conceal the sad thoughtfulness that lurks in his expression. We do not believe in his snapping fingers and his jaunty air. What colour are his beautiful garments? Rosy white, greeny white, lavendar white with rose red knots, and rose red mantle lined with bluebell blue, white frills falling over the sensitive hands, his -butterfly decorations rustling as he passes—"L'Indifférent." The +butterfly decorations rustling as he passes—"L'Indifférent." The technique of the picture, in its modern chromatic use of colour, is marvellous. The hues of the rainbow meander through it all. Who can describe Watteau's colour or his fashion of trickling on the paint, as fascinating in its way as the method of Frans Hals, whose seduction is "the way he paints," not what he paints? Hals, the great master of character, frank, open, plebeian, is akin in technique to Watteau. What -æsthetic joy these masters of technique give us as we<span class="pagenum"><a name="Page_46" id="Page_46">[Pg 46]</a></span> study the +æsthetic joy these masters of technique give us as we<span class="pagenum"><a name="Page_46" id="Page_46">[Pg 46]</a></span> study the manipulation of their paint. Hals flicks on his ruffles frankly, joyously—brutally. Watteau, seemingly just for joy in the colour, trickles—there is no other word for it—one luscious colour over @@ -903,7 +865,7 @@ flute. Very Watteau-like is the landscape.</p> <p>Turn from these little works to the larger pictures, such as "The Return from the Chase," painted for his patron M. de Julienne towards<span class="pagenum"><a name="Page_48" id="Page_48">[Pg 48]</a></span> the end of his life—a marvel of rhythmic line and tone; and to "Les Amusements -Champêtres"—a bouquet of colour like no other colour, old rose, old +Champêtres"—a bouquet of colour like no other colour, old rose, old blue, silvery yellow, prune purple, all partaking one of the other. In the distance people are sitting and standing and dancing in colours unrivalled.</p> @@ -983,7 +945,7 @@ Burgundian Franco-Flemish renaissance.</p> <p>Watteau is true successor to his masters Teniers and Rubens. Teniers' subjects may be said to persist to the end of his short but full -artistic life, and his <i>Fêtes Galantes</i>, those perfect expressions of +artistic life, and his <i>Fêtes Galantes</i>, those perfect expressions of his matured art, are Teniers' subjects made his own; but the uncouth Flemish peasants become graceful dames and gallants. Teniers' boors rollick through the day and night boisterously, leaving nothing for @@ -992,7 +954,7 @@ touched with happy melancholy. Their light malady of heartache for unattained desires is obviously more beautiful pictorially than the headaches of hilarious boors.</p> -<p>Your true artist has delicate <i>antennæ</i> and is sensitive to everything +<p>Your true artist has delicate <i>antennæ</i> and is sensitive to everything that he sees and feels; but when he retires within himself, the memory of all that he felt, of warmth or cold,<span class="pagenum"><a name="Page_54" id="Page_54">[Pg 54]</a></span> fine or unfine, returns to him. The influence of many men Watteau felt. I place them in the order of @@ -1099,7 +1061,7 @@ will paint pictures as he pleases.</p> <p class="captionpp">Bleak Edinburgh is rich in the possession of this picture of dreamy colour. The hour is sunset; the place is where you will, but the title, -"Fête Champêtre," suits the scene of dalliance quite as well as any +"Fête Champêtre," suits the scene of dalliance quite as well as any other name; a similar picture at Dresden is called by M. Mauclair "The Terrace Party." You perceive here the typical Watteau figures, and behind is a landscape that has all the idealistic charm of his rendering @@ -1127,7 +1089,7 @@ Rubens, who was master to Van Dyck, the founder of the English school.</p> <p>Does Gainsborough's lovely "Perdita" in the Wallace Collection owe nothing of its exquisite<span class="pagenum"><a name="Page_62" id="Page_62">[Pg 62]</a></span> femininity, sweet melancholy, and woodland background, to Watteau? Constable and Turner were but paying old debts, -for the painter of the <i>Fêtes Galantes</i> had shown the beauty of +for the painter of the <i>Fêtes Galantes</i> had shown the beauty of landscape and made it something more than a setting for figures. He taught also that Nature is intimate and familiar with accidental beauty of sunlight and twilight, misty horizons, and lovable little things near @@ -1239,19 +1201,19 @@ seriously, lightly, joyously or sadly. There is recompense whether you feel that he is the great and profound master M. Mauclair calls him, or whether you range yourself with the De Goncourts, who describe him as "a painter of Utopias, a beautifier, the most amiable and determined of -liars, a painter of pictures where the fiddles of Lérida play marches +liars, a painter of pictures where the fiddles of Lérida play marches that lead the way to death, where smart La Tulipe struts and swaggers, and Manon flirts between two gun shots, and a<span class="pagenum"><a name="Page_68" id="Page_68">[Pg 68]</a></span> host of little love-birds flutter, light-heartedly, into war's stern discipline."</p> <p>The De Goncourts note that there is in Watteau's work "murmurs of vague and slow harmony behind the laughing words," and that a "musical sadness -gently contagious exhales from these <i>Fêtes Galantes</i>. Like the +gently contagious exhales from these <i>Fêtes Galantes</i>. Like the seduction of Venice, I know not what veiled poetry breathes sweet and low to our charmed senses."</p> <p>M. Mauclair asserts that no one has ever understood Watteau so well as -Verlaine, and that "his exquisite little volume of poems <i>Fêtes +Verlaine, and that "his exquisite little volume of poems <i>Fêtes Galantes</i> is an absolute transposition of the painter's work"; but it is the brilliant appreciation of the De Goncourts that has had the strongest influence on subsequent writers, so admirably do they reveal @@ -1286,7 +1248,7 @@ complexion. The composition is charming.</p> <p><span class="pagenum"><a name="Page_71" id="Page_71">[Pg 71]</a></span></p> <p>"<i>La Mode de Watteau</i>—that divine tailor whose artist scissors have -fashioned playfully the delight in disorder, the morning <i>négligé</i>, and +fashioned playfully the delight in disorder, the morning <i>négligé</i>, and the beautiful ceremonious garments of the afternoon. Fairy scissors dowering the times to come with fashions from the 'Thousand and One Nights.' Beribboned scissors of Watteau, what a delightful realm of @@ -1298,7 +1260,7 @@ French Journal." Calmly this subtle analysis begins, which shows a deeper insight into the personality of Watteau than either the brothers De Goncourt, or M. Mauclair, who calls<span class="pagenum"><a name="Page_72" id="Page_72">[Pg 72]</a></span> Pater's "Imaginary Portrait" a "whimsical interpretation." I have read many books about the painter of -the <i>Fêtes Galantes</i>, but I always return to Pater's "whimsical +the <i>Fêtes Galantes</i>, but I always return to Pater's "whimsical portrait," for it gives the very atmosphere of his artistic descent and development, from the age of seventeen to the last year of his life. Missing no dominant event, misusing no legends, cast in the form of a @@ -1319,7 +1281,7 @@ and namesake, a dark-haired youth, whose large, unquiet eyes seemed perpetually wandering to the various drawings which lie exposed here. My father will have<span class="pagenum"><a name="Page_73" id="Page_73">[Pg 73]</a></span> it that he is a genius indeed and a painter born.... And just where the crowd was busiest young Antony -was found, hoisted into one of those empty niches of the old <i>Hôtel +was found, hoisted into one of those empty niches of the old <i>Hôtel de Ville</i>, sketching the scene to the life, but with a kind of grace—a marvellous tact of omission, as my father pointed out to us, in dealing with the vulgar reality seen from one's own @@ -1387,7 +1349,7 @@ thought of a summing up of his life."</p> <p>"Antony Watteau departed suddenly, in the arms of M. Gersaint, on one of the late hot days of July. At the last moment he had been at -work upon a crucifix for the good <i>curé</i> of Nogent, liking little +work upon a crucifix for the good <i>curé</i> of Nogent, liking little the very rude one he possessed. He died with all the sentiments of religion.</p> @@ -1499,383 +1461,6 @@ eternally free.</p> <p>Page numbers in the Table of Contents have been adjusted to reflect the actual page numbers in this eText.</p> - - - - - - - -<pre> - - - - - -End of the Project Gutenberg EBook of Watteau, by C. Lewis Hind - -*** END OF THIS PROJECT GUTENBERG EBOOK WATTEAU *** - -***** This file should be named 41621-h.htm or 41621-h.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/4/1/6/2/41621/ - -Produced by sp1nd, David E. 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