Since CézanneChatto and Windus, 1922 - 229 páginas English art critic Clive Bell wrote this book on Paul Cézanne's influence on modern art. |
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absolute beauty admired æsthetic amateurs amongst André Salmon appreciate archæologists artistic problem become believe Bonnard Cézanne Cézanne's Charles-Louis Philippe charming civilization colour contemporary course create critic Cubism Derain doctrinaire douanier Duncan Grant emotion English enthusiasm express exquisite fact fancy Fauves feel France French Frenchman Friesz Gallery genius genuine gift give impressionist influence Ingres intellectual intelligence intense Jazz Léon Werth less Lhote literary look Marie Laurencin Marquet Matisse Matisse and Picasso matter means ment mind mistake modern Molière movement natural never painters painting Paris passion peculiar perhaps Picasso poet political Poussin Primitives qualities Racine ragtime realize Renoir rescued painting Roger Fry salon d'automne sculpture seems sense sensibility sensitive sentimental significant form silly sometimes sort spirit suppose sure surprise taste theory thing thrill tion tradition unlike vision visual art Vollard words write young
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Página 166 - I was so enthusiastically delighted and inspired. My earliest acquaintances will not have forgotten the undisciplined eagerness and impetuous zeal, with which I laboured to make proselytes, not only of my companions, but of all with whom I conversed, of whatever rank, and in whatever place. As my school finances did not permit me to purchase copies, I made, within less than a year and a half, more than forty transcriptions, as the best presents I could offer to those, who had in any way won my regard.
Página 193 - Let us admire, for instance, the admirable, though somewhat negative, qualities in the work of Mr. Lewis — the absence of vulgarity and false sentiment, the sobriety of colour, the painstaking search for design — without forgetting that in the Salon d'Automne or the Salon des Independants a picture by him would neither merit nor obtain from the most generous critic more than a passing word of perfunctory encouragement...
Página 175 - Till now, I was acquainted only with two ways of criticising a beautiful passage: the one, to show, by an exact anatomy of it, the distinct beauties of it, and whence they sprung ; the other, an idle exclamation, or a general encomium, which leaves nothing behind it. Longinus has shown me that there is a third. He tells me his own feelings upon reading it ; and tells them with such energy...
Página 58 - Cézanne se mit à taper comme un sourd sur la table, — comment peut-on dire qu'un peintre se tue parce qu'il a fait un mauvais tableau ? Quand un tableau n'est pas réalisé, on le f... au feu, et on recommence ! ». Balzac le savait bien, qui a tant recommencé.
Página 150 - You may dine at any of the half-dozen "smartest" restaurants in London, pay a couple of pounds for your meal, and be sure that a French commercial traveller, bred to the old standards of the provincial ordinary, would have sent for the cook and given him a scolding.
Página 216 - ... impudence which rags. . . . After impudence comes the determination to surprise : you shall not be gradually moved to the depths, you shall be given such a start as makes you jigger all over. . . . . . . Its fears and dislikes — for instance, its horror of the noble and the beautiful are childish; and so is its way of expressing them. Not by irony and sarcasm, but by jeers and grimaces, does Jazz mark its antipathies. Irony and wit are for the grown-ups. Jazz dislikes them as much as it dislikes...
Página 215 - ... Appropriately it (the jazz movement) took its name from music — the art that is always behind the times. Impudence is its essence — impudence in quite natural and legitimate revolt against nobility and beauty: impudence which finds its technical equivalent in syncopation: impudence which rags. After impudence comes the determination to surprise: you shall not be gradually moved to the depths, you shall be given such a start as makes you jigger all over. "Its fears and dislikes — for instance,...
Página 84 - ... the inventor of cubism, but artists who float so far out of the main stream as the Spensers and the Nashes, Mr. Lamb and Mr. John, would all have painted differently had Picasso never existed. Picasso is a born chef d'ecole. His is one of the most inventive minds in Europe. Invention is as clearly his supreme gift as sensibility is that of Matisse. His career has been a series of discoveries, each of which he has rapidly developed. A highly original and extremely happy conception enters his head,...
Página 131 - The hearty conventions of family life which make impossible almost relations at all intimate or subtle arouse in him nothing but a longing for escape. He will be reared, probably, in an atmosphere where all thought that leads to no practical end is despised, or gets, at most, a perfunctory compliment when some great man who in the teeth of opposition has won to a European reputation is duly rewarded with a title or an obituary column in The Times. As for artists, they, unless they happen to have...