The History of Modern Painting, Volume 1 (of 4): Revised edition continued by the author to the end of the XIX centuryMuther, Richard
History
The History of Modern Painting, Volume 1 (of 4): Revised edition continued by the author to the end of the XIX century
Muther, Richard
Painting -- History
Delaroche was the Titian of Louis Philippe's age, the spoiled child of
the Juste-milieu, one of the most insignificant and at the same time one
of the most famous painters of the century; and in this double capacity
is an interesting proof that in art the "Vox populi" is seldom the "Vox
Dei." What a difference between him and the great spirits of the
Romantic school! They were enthusiastic poets; their predilection for
Mediævalism was concerned only with its æsthetic charm, with the
twilight shadows of its picturesque churches, the sounding presage of
its bells, the motley processions of that world gleaming bright with
uninterrupted colour. And what further allured their imaginative powers
was the unruly character of certain epochs, the destructive war of wild
factions, and the blazing, consuming power of passion. The historical
motive, as such, was with them only a pretext for launching forth into
flashing orgies of colour, according to the example, which they followed
merely in externals, of the Venetian and Flemish masters. They knew, as
genuine painters, that only in the pigment on their palette slumbers
that power of exciting emotion by means of which the art of painting
touches the chords of men's souls. Enthusiasts of colour and of passion,
they raved about the poets merely because the latter more readily
enabled them, by means of the fierce vehemence of the awakened powers of
nature, to invest with form the feverish, agitated, and terrible dreams
of their fantasy. So it was that Delacroix told of conflagration, of
battle and warfare, of murder and pillage, of the bitterness and pains
of love. At the same time, no doubt, he studied the vari-coloured
costumes of past ages--his drawings show as much--but he made use of
them simply as a storehouse of bright hues, as a lexicon by means of
which he might embody his visions of colour. To manufacture historical
vignettes and play the part of a teacher of history would have been in
his eyes a thing to be held in contempt as the work of subservient
illustrators. Yet perhaps it was by taking this very course that far
greater successes were to be attained, so far as the verdict of the
multitude is considered.
Public-domain text, read in full here on John Shaqi.
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