FREE BOOKS

Author's List




PREV.   NEXT  
|<   83   84   85   86   87   88   89   90   91   92   93   94   95   96   97   98   99   100   101   102   103   104   105   106   107  
108   109   110   111   112   113   114   115   116   117   118   119   120   121   122   123   124   125   126   127   128   129   130   131   132   >>   >|  
ried to put his mighty self into his work, just so far he failed of artistic perfection; and not every one is Michael Angelo to make even failure beautifully colossal. In architecture, which in his day was already a dead art to be galvanized, not alive and manly like the art of the painter, his self-consciousness shows most strongly and his failure is most conspicuous. Here he did not create, but avowedly composed--set himself deliberately to study the past and to decide what was best for the future. And upon none but him rests the blame of having driven out of the semi-unconscious, semi-original Renaissance style what elements of power it had, and sent it reeling down through two centuries crazed with conceit and distorted with self-inspection. On the unconscious development of mediaeval architecture, due to no one man, but to a universal interest in and appreciation of the art, it is unnecessary to dwell. Nor need we for present purposes seek further illustration farther afield. Let us take time now to look more narrowly at the art of to-day, and try to mark the different shapes it has taken with different nations. The most decided school is in France: her artists, many in number, confine, whether involuntarily or not, their individual differences within sharply-marked and easily-noted limits. In Germany the schools are two--one of so-called historical painting at Munich, one of what we may name domestic painting at Duesseldorf. This last may be put on one side as having no specially obtrusive characteristics, and by German pictures will be meant those of the Munich and Vienna type, whether actually from the studios of Munich and Vienna or not. In English contemporary art can one pretend to find a school at all in any true sense of the word? What we do find is a very widespread art-literature and talk of art, a large number of working artists varying in temperament, and a vast horde of amateurs, who are not content to be patrons, but yearn also to be practisers of art. In England theories of art are more carefully discussed and more widely diffused than they are in any other country. But they are theories of an essentially untechnical, amateurish, literary kind. The English critic calls all law and philosophy, all rules of morals and manners, of religion and political economy and science and scientific aesthetics, to aid his critical faculty when he needs must speak of pictures. In Germany there is also much the
PREV.   NEXT  
|<   83   84   85   86   87   88   89   90   91   92   93   94   95   96   97   98   99   100   101   102   103   104   105   106   107  
108   109   110   111   112   113   114   115   116   117   118   119   120   121   122   123   124   125   126   127   128   129   130   131   132   >>   >|  



Top keywords:

Munich

 

failure

 

number

 

English

 

Vienna

 
pictures
 

unconscious

 

theories

 

architecture

 
Germany

artists

 
painting
 

school

 

pretend

 

contemporary

 

studios

 

called

 

historical

 

domestic

 

schools


limits

 

sharply

 

marked

 

easily

 

Duesseldorf

 

characteristics

 

German

 

obtrusive

 

specially

 

working


philosophy

 
morals
 

manners

 

religion

 

amateurish

 
untechnical
 

literary

 

critic

 

political

 

economy


faculty

 

scientific

 

science

 

aesthetics

 

critical

 

essentially

 
temperament
 

varying

 

amateurs

 

widespread