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Updated: June 27, 2025
Other critical studies are by Camille Mauclair, Roger Marx, Richard Muther, and George Grappe; and recently Elizabeth Luther Cary in a too short but admirably succinct article characterised the Guys method in this fashion: "He defined his forms sharply and delicately, and used within his bounding line the subtlest variation of light and shade.
It is the thesis put forth and cleverly maintained by Mauclair that interests us more than his succinct notation of the painter's life. It is not so novel as it is just and moderate in its application. The pathologic theory of genius has been overworked. In literature nowadays "psychiatrists" rush in where critics fear to tread. Mahomet was an epilept; so was Napoleon.
Mauclair has given the most succinct answer in his book L'Impressionisme: "In nature," he declares, "no colour exists by itself.
Gauguin in an eloquent letter tells of his intercourse with Vincent Van Gogh, who went mad and killed himself, not, however, before attempting the life of his master. Mauclair has said of Van Gogh that he "left to the world some violent and strange works, in which Impressionism appears to have reached the limit of its audacity.
All this to assure you that when Camille Mauclair assumes that the malady from which Antoine Watteau died was also a determining factor in his art, the French critic is not aping some modern men of science who denounce the writings of Dostoïevsky because he suffered from epileptic fits. But there is a happy mean in this effort to correlate mind and body.
"You're right!" said the stage-manager, frantically pushing his hands through his rebellious hair. "You're right! But there might be some one at the organ who could tell us how the stage came to be suddenly darkened. Now Mauclair is nowhere to be found. Do you understand that?" Mauclair was the gas-man, who dispensed day and night at will on the stage of the Opera.
Only your academic, colourless painter lacks personal style and always paints like somebody he is not. Watteau's art is peculiarly personal. Its peculiarity apart from its brilliancy and vivacity is, as Mauclair remarks, "the contrast of cheerful colour and morbid expression."
You may begin with Wincklemann or Goethe we refer entirely to critics of paint and painters or run down the line to Diderot, Blanc, Gautier, Baudelaire, Zola, Goncourt, who introduced to Europe Japanese art; Roger Marx, Geoffroy, Huysmans, Camille Mauclair, Charles Morice, and Octave Mirbeau. Zola was not a painter, but he praised Edouard Manet. These are a few names hastily selected.
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