The History of Modern Painting, Volume 2 (of 4): Revised edition continued by the author to the end of the XIX centuryMuther, Richard
History
The History of Modern Painting, Volume 2 (of 4): Revised edition continued by the author to the end of the XIX century
Muther, Richard
Painting -- History
"_L'oeil interroge: rien ne bouge. L'oreille écoute: aucun bruit. Pas un
souffle, si ce n'est le frémissement presque imperceptible de l'air
au-dessus du sol embrasé. La vie semble avoir disparu, absorbée par la
lumière. C'est le milieu du jour.... Mais le soir approche.... Les
troupeaux rentrent dans les douars; ils se pressent autour des tentes, à
peine visibles, confondus sous cette teinte neutre du crépuscule, faite
avec les gris de la nuit qui vient et les violets tendres du soir qui
s'en va. C'est l'heure mystérieuse, où les couleurs se mèlent, où les
contours se noient, où toute chose s'assombrit, où toute voix se tait,
où l'homme, à la fin du jour, laisse flotter sa pensée devant ce qui
s'éteint, s'efface et s'evanouit._"
[Illustration: _L'Art._ EUGÈNE FROMENTIN.]
This description of a day in Algiers in Guillaumet's _Tableaux
algériens_ interprets the painter Guillaumet better than any critical
appreciation could possibly do. For him the East is the land of dreams
and melting softness, a far-off health-resort for neurotic patients,
where one lies at ease in the sun and forgets the excitements of Paris.
It was not what was brilliant and pictorial in sparkling jewels and
bright costume that attracted him at all, but the silence, the mesmeric
spell of the East, the vastness of the infinite horizon, the imposing
majesty of the desert, and the sublime and profound peace of the nights
of Africa. "The Evening Prayer in the Desert" was the name of the first
picture that he brought back with him in 1863. There is a wide and
boundless plain; the straight line of the horizon is broken by a few
mountain forms and by the figures of a party belonging to a caravan;
but, bowed as they are in prayer, these figures are scarcely to be
distinguished. The smoke of the camp ascends like a pillar into the air.
The monotony of the wilderness seems to stretch endlessly to the right
and to the left, like a grand and solemn Nirvana smiting the human
spirit with religious delirium.
[Illustration: FROMENTIN. ARABIAN WOMEN RETURNING FROM DRAWING WATER.]
Public-domain text, read in full here on John Shaqi.
Reviews
Reviews
No reviews yet
Be the first to share your thoughts on this work.
Elsewhere in the archive
Join the Discussion
Join the discussion
Sign in to leave a comment or review.
Sign InorCreate an account