It's quite Classical at the Academies

Lord Leighton said:

Looking from a wide standpoint at this exhibition and embracing further in the field of vision the many and manifold exhibitions, especially of paintings, which each season brings forth; struck as we all must be, deeply with the vehement and almost feverish strife of conflicting theories and opinions which is rife about us, it is impossible not to feel how perplexing such a condition of things must be to the very young, who, on the outer threshold of their career, eager and still malleable, seek a secure path in such a labyrinth of contradictions. Extreme youth when it is healthy is bold and fearless, and not a little inclined to rebel against tradition, however rooted in the long assent of men. And here, gentlemen, I would not be misunderstood. Steeped as I am to my innermost marrow in reverence for the mighty men of the past to whom Art owes whatever true sublimity it boasts; convinced, unshakably, of the vital validity of the great principles on which their achievements rest, I am yet not one of those who would refuse to Art all power of evolution, or who believe that, though assuredly it will never reach more lofty summits, it may not send forth lateral green shoots fresh and delightful as only they are, indeed, nourished from the strong sap of the parent stem.

In brief, I do not believe - to change the metaphor - that they who, in our time, have wedded their lives to art have clasped to their breasts a lovely but lifeless corpse. To the very young then, I would fain offer one or two matters for thought, if, perchance, they will hearken to one who has grown old in unwavering sympathy with their struggles and doubts. I would beg them to keep ever before their eyes the vital truth that sincerity is the well-spring of all lasting achievement, and that no good thing ever took root in untruth or self-deception. I would urge them to remember that if every excellent work is stamped with the personality of its author, no work can be enduring that is stamped with a borrowed stamp; and that, therefore, their first duty is to see that the thoughts, the emotions, the impressions they fix on he canvas are in very truth their own thoughts, their own emotions, their own spontaneous impressions, and not those of others: for work that does not spring from the heart has no roots, and will of certainty wither and perish. The other maxim also I would urge on them - that true genius knows no hurry, that patience is of its essence, and thoroughness its constant mark; and, lastly, I would ask them to believe that the gathered experience of past ages is a precious heritage and not an irksome load; and that nothing will fortify them better for the future, and free development, than the reverent and loving study of the past.

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William Bouguereau said:

I accept and respect all schools of painting which have as their basis the sincere study of nature, the search for the true and the beautiful. As for the mystics, the impressionists, the pointillists, etc., I don't see the way they see. That is my only reason for not liking them.

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odalisk said:

Nymphes et Satyre is possibly one of my favourite paintings in the world

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Equinoxe said:

It is such a lovely piece, his skill at painting lifelike images was truly amazing.

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odalisk said:

The light and the sense of fluid motion he captures (in my opinion!) is compelling.

Entrancing, even.

La Vague is another favourite of mine, as is a partial nude against a wall -- I cannot recall its name. Perhaps Evening something?!

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odalisk said:

My admiration for his work is matched only by my surprise it catches me so; generally, I prefer Impressionists.

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My apologies, I don't mean to hijack your thread

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Metrodance said:

I love the detail of the flowers in the Alma-Tadema. I'm not usally a fan of the classical style but I do enjoy that particular one. I probably haven't seen enough so I'll watch this thread with interest.

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Equinoxe said:

...Beneath it was genre painting, the scènes de genre or the petit genre, paintings of everyday life...

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kotori said:

Hard to imagine Vermeer as in anyway "secondary."

The same attitude of course marks historiography as well--only in the last generation have the lives of everyday people (like women, lol) been seen as fit subjects for historical inquiry.

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Equinoxe said:

I know. Although, I do tend to agree with the devaluing of still-lifes, the bane of high school art classes.

This is true, although it is probably not surprising that the attitude is found also in art history, considering Félibien was a historiographer himself.

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kotori said:

Bane though they be, if they're "good" why devalue?

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