Mr. Punch's History of Modern England, Vol. 4 (of 4).—1892-1914Graves, Charles L. (Charles Larcom)
History
Mr. Punch's History of Modern England, Vol. 4 (of 4).—1892-1914
Graves, Charles L. (Charles Larcom)
Great Britain -- History -- Victoria, 1837-1901 -- Humor
The exuberances of "_nouveau art_" had already elicited the cry of the
visitor (in Du Maurier's picture in 1894) on being shown round her
friend's new house: "Oh, _Liberty_, how many crimes are committed in
thy name!"--a joke repeated from an earlier volume.[8] Nine years later
the angularities of the new "Artful and Crafty" furniture are held up
to well-merited ridicule. But it is only right to add that in 1897, in
"The Pendulum of Taste"--an imaginative forecast of the sale of old
furniture in the year 1996--_Punch_ indulges in a comprehensive and
entirely damaging review of the monstrosities of Victorian furniture
and decoration: groups of fruit in wax; hideous gaseliers; terrible
chromolithographs; a tea-cosy embroidered with holly-berries in crewel
work; a kneeling statuette of the infant Samuel; chairs and sofa in
mahogany, upholstered in horsehair; a Kidderminster carpet "with a
striking design of large nosegays on a ground of green moss"; and a
complete set of antimacassars in wool and crochet. Mr. Galsworthy's
minute description of the "Mausoleum," in which old Timothy Forsyte,
the last and most long-lived of his generation, lived or rather
vegetated down to and through the War, is much on the same lines. But
_Punch_, being nearly twice as old as Mr. Galsworthy, had spent a good
part of his life amid these surroundings.
[Footnote 8: The Botticelli joke in the same year was new. One man
is afraid he made an ass of himself because, when asked if he liked
Botticelli, he had said that he preferred Chianti, and his friend
kindly explains that Botticelli is not a wine but a cheese.]
[Sidenote: _Art Definitions_]
The principles and theory of art-criticism, as I have noted above, did
not trouble _Punch_ greatly in the first twelve or fifteen years of
this period. He was mainly concerned with the robust expression of his
likes and dislikes. But by 1908 he had become slightly infected by the
new psychology of art, and by way of clarifying the atmosphere launched
the following list of definitions:--
ART
(A glossary for the opening of the R.A.)
An Artist is a person who paints what he thinks he sees.
An Amateur is a person who thinks he paints what he sees.
An Impressionist is a person who paints what other people think he
sees.
A Popular Artist is a person who paints what other people think they
see.
A Successful Artist is a person who paints what he thinks other people
see.
A Great Artist is a person who paints what other people see they think.
A Failure is a person who sees what other people think they paint.
A Portraitist is a person who paints what other people don't think he
sees.
A Landscape Painter is a person who doesn't paint what other people
see.
A Realist is a person who sees what other people don't paint.
An Idealist is a person who paints what other people don't see.
The Hanging Committee are people who don't see what other people think
they paint.
Public-domain text, read in full here on John Shaqi.
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