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Updated: May 2, 2025
He wrote a piquant article on the glories of the Comedie de l'Art, and its resurrection by the improvising troupe of the great mime Florimond Binet. Binet's name was not Florimond; it was just Pierre. But Andre-Louis had a great sense of the theatre.
Catherino, in his book entitled L'Art d'Imprimer, quotes the saying of De Fourcey, a Jesuit of Paris, that "one might make a pretty large volume of the catalogue of those who have entirely ruined their booksellers by their books."
The "Saltimbanques," reproduced in L'Art for 1878, is a page of tragedy, the finest of a cruel series. M. Eugène Montrosier says of it that "The drawing is masterly, incomparably firm, the composition superb, the general impression quite of the first order."
His cause is judged, and into Bridewell he goes, if l'Art pour l'Art is all the literary law and the prophets. But Fielding cannot be kept in prison long. His noble English, his sonorous voice must be heard. There is somewhat inexpressibly heartening, to me, in the style of Fielding.
Where the common man covers the queerest emotions by saying, "Rum little kid," Victor Hugo will write "L'art d'etre grand-pere"; where the stockbroker will only say abruptly, "Evenings closing in now," Mr.
Tiring of ship life, he finally decided to study art. He had seen New Zealand, Australia, Italy, New Caledonia, and if his splendid plate No. 22 in M. Burty's list is evidence, he must have visited San Francisco. Baudelaire, in L'Art Romantique, speaks of this perspective of San Francisco as being Meryon's most masterly design. In 1846 he quit seafaring.
And, vice versâ, veracity to sentiment, truth in a relation, truth to your own heart and your friends, never to feign or falsify emotion that is the truth which makes love possible and mankind happy. L'art de bien dire is but a drawing-room accomplishment unless it be pressed into the service of the truth.
L'art robust seul a l'éternité, precisely as Gautier points out, with bracing common-sense; and it is excellent thus to comprehend that to-day, as always, only through exercise of the auctorial virtues of distinction and clarity, of beauty and symmetry, of tenderness and truth and urbanity, may a man in reason attempt to insure his books against oblivion's voracity.
Cézanne was a great character. It is a mistake to suppose that great characters are always agreeable ones. Few people, I imagine, found Cézanne agreeable; yet painters, one would suppose, were eager to meet him that they might hear what he had to say about painting. Cézanne's ideas on painting are not like ideas at all: they are like sensations; they have the force of sensations. They seem to give the sense of what was in his mind by a method more direct than the ordinary intellectual one. His meaning reaches us, not in a series of pellets, but in a block. These sayings of his remind one oddly of his art; and some of his comments on life are hardly less forcible and to the point. This, for instance, provoked by Zola's "L'Oeuvre," is something more than a professional opinion: On ne peut pas exiger d'un homme qui ne sait pas, qu'il dise des choses raisonnables sur l'art de peindre; mais, N. de D et Cézanne se mit
"Léonard paid a great deal of attention to scales and the right way to practice them. He would say, 'Il faut filer les sons: c'est l'art des maîtres. Himself a great classical violinist, he nevertheless paid a good deal of attention to virtuoso pieces; and always tried to prepare his pupils for public life.
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