By Jed Perl
Antoine Watteau, some of the most mysterious painters who ever lived, is the muse for this pleasant research of the tangled courting among artwork and existence. Weaving jointly ancient truth and private reflections, the influential paintings critic Jed Perl reconstructs the superb tale of this pioneering bohemian artist who, even if he died in 1721, while he used to be purely thirty-six, has motivated innumerable painters and writers within the centuries since—and whose paintings keeps to deepen our realizing of where that love, friendship, and enjoyment have in our day-by-day lives.
Perl creates an excellent adventure by means of accumulating his reflections in this “master of silken surfaces and elusive emotions” within the kind of an alphabet—a fairy story for adults—giving us a brand new approach to take into consideration paintings. This very good college of a booklet is a hunt for the treasure of Watteau’s existence and imaginative and prescient that encompasses the glamour and intrigue of eighteenth-century Paris, the riotous heritage of Harlequin and Pierrot, and the paintings of such sleek giants as Cézanne, Picasso, and Samuel Beckett.
By turns somber and beguiling, analytical and impressionistic, Antoine’s Alphabet reaffirms the modern relevance of the best of all painters of younger love and imperishable goals. it's a publication to savour, to proportion, to come to many times.
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Extra info for Antoine's Alphabet: Watteau and His World
Looking back after more than a century of scholarship, we may fairly say that in the first aim scholars of Roman art were remarkably successful. Talk of “decline” has been all but banished from our books—even when discussing the art of late antiquity—and few writers now feel the need to justify the subject as an independent field of study, distinct from Greek and Hellenistic art. In the second aim, however, the field has been conspicuously less successful. Within particular genres of monument, like historical relief or monumental sarcophagi, scholars have made great strides in describing and analyzing the way in which styles change; and plausible explanations have been advanced as to why they change as they do.
Caesar: What! Rome produce no art! Is peace not an art? is war not an art? is government not an art? is civilization not an art? All these we give you in exchange for a few ornaments. You will have the best of the bargain. Thus, in the late nineteenth and early twentieth centuries, those scholars who were attempting to found the new field of “Roman art” felt that they were faced with two urgent tasks. The first was to try to establish that there really was such a thing as “Roman art”; that it was not merely Greek art in decline.
Bretschneider, Rome, 1985). Stewart, P. (2004) Roman Art. Oxford University Press, Oxford. Stewart, P. (2008) The Social History of Roman Art. Cambridge University Press, Cambridge. Storia dell’arte romana (2011–2012), 3 vols. Jaca, Milan. E. (1976) Roman Art. Penguin Books, Harmondsworth. , and Ritter von Hartel, W. (1895) Die Wiener Genesis. Tempsky, Prag (= Roman Art; Some of Its Principles and Their Application to Early Christian Painting, translated by Mrs. S. Arthur Strong. Macmillan, New York, 1900).
Antoine's Alphabet: Watteau and His World by Jed Perl