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In this lavishly illustrated book, Anita Brookner examines the masters of French Romantic painting in the context of nineteenth-century poetry, literature, and criticism. Here are Gros as hero and victim, Alfred de Musset as infant de sicle, Delacroix as Romantic classicist, and, later in the century, Zola as an advocate of life for art's sake and Huysmans indulging in the madness of art. Brookner traces the way that French Romanticism followed the political turmoil of the late eighteenth century and the defeat at Waterloo in 1815, and replaced the agnosticism of the Enlightenment and Revolution with a new heroism.
"By almost common consent the Romantics in France transferred their idealism to the domain of art, either as practitioners or as critics," writes Brookner. "Art was common ground, almost as religion had once been; art, moreover, was an elite calling, a vocation, 'un apostolat' according to Ingres. And few were inclined to doubt that there was something sacerdotal in operating even on the fringes, in celebrating the new that might in turn be revelatory."
- Sales Rank: #1716573 in Books
- Published on: 2000-10
- Original language: English
- Number of items: 1
- Dimensions: .90" h x 6.40" w x 9.44" l,
- Binding: Hardcover
- 208 pages
From Publishers Weekly
Following her earlier biography of the neoclassicist painter Jacques-Louis David, acclaimed novelist and art historian Brookner (Hotel du Lac; Falling Slowly; etc.) here tackles the French Romantics. As a brief outline of the movement, this study breaks no new ground, but it is a fluent and shapely introduction that covers the major names, with chapters devoted to artists Ingres, Delacroix and Gros, writers Musset, Baudelaire, Zola and Huysmans, and the Goncourt brothers. As in the David biography, which focused on how the artist's later career was ruined by his homosexuality, and as in Brookner's novels of the rich, sensitive and depressed, the latter part of the title (a takeoff on Freud's Civilization and Its Discontents) rules the interpretations here. With artists like Baron Gros, Brookner wonderfully integrates psychobiography with social history, implying that during the Terror following the French Revolution, this artist's paranoia was sensible and lifesaving. The Goncourt brothers are lauded for their "unflinching pessimism which cannot quite conceal a sorrowing outlook." Brookner overrates Madame de Sta?l and misleadingly calls the tyrannically gifted 18th-century epistolary artist Madame du Deffand "a modest and discreet person." Despite a novelist like Zola, who personified "Romanticism as energy," the final word is given to the "constitutionally depressed" critic Sainte-Beuve. (Surprisingly, there is no bibliography or list of suggested reading.) Brookner definitely paints the Romantics with her own brushAmaking sure that no one has too good a timeAbut she communicates her highly personal view with the sureness of a professional in literary low spirits. Illus. not seen by PW. (Oct.)
Copyright 2000 Reed Business Information, Inc.
From Library Journal
Art historian and novelist Brookner here discusses Romanticism as it existed in the arts in France from 1800 to 1880. She views Romanticism as the fruition of the artist/writer's despair and doubt, which resulted from the collapse of idealism in the aftermath of the French Revolution and Napoleon's defeat at Waterloo. Turning away from life's disenchantment and ennui, the artist plunged into the realm of the imagination in order to achieve personal fulfillment. Brookner examines how the work of eight artists and writers of this period reflected these aspects of Romanticism. While her thesis works for artists up to Delacroix, Brookner seems to be straining a bit with Ingres, the Brothers Goncourt, and Zola. While she does say that Ingres negates the idea of the disillusioned Romantic, it is hard to understand why he is included at all in this selection of artists. Brookner's thesis aside, valuable information is given on all of these artistic figures, making this a good accompanying text to an undergraduate survey on 19th-century French art and culture. Recommended for academic and art libraries.
-DSandra Rothenberg, Framingham State Coll., MA
Copyright 2000 Reed Business Information, Inc.
From Booklist
Brookner is best known as a novelist, but she is an art historian, too, and this graceful and tightly focused interpretation of nineteenth-century French Romanticism showcases her considerable literary skill, sharp attunement to social mores, and X-ray vision into the psyche. Characterizing Romanticism as an expression of "infinite longing," Brookner deftly traces its rise and fall in a time of upheaval during which tradition was challenged, the personal took precedence over the social, and the spiritual was invested in the artistic. She then vigorously analyzes these paradigm shifts in lively profiles of a handful of influential painters and writers and, along the way, chronicles the birth of serious art criticism. In the visual realm, she portrays the pioneering Antoine-Jean Gros, and contrasts the dramatic and searching Delacroix with the more serene and content Ingres. As to writers, so insightful and eloquent are her linked studies of Alfred de Musset, Baudelaire, Zola, Huysmans, and the Goncourt brothers, they become poignant figures worthy of Brookner's intensely psychological fiction but are all the more haunting for being real. --Donna Seaman Donna Seaman
Copyright © American Library Association. All rights reserved
Most helpful customer reviews
3 of 5 people found the following review helpful.
In Defense of Romanticism and its Discontents
By James C. Rogers
I have read all Anita Brookner's novels. I like some of them better than others, but all are interesting, well written and make you think days after you have finished reading them. I read "Romanticism and its Discontents" when it first came out and loved it. I was thinking how fluid and elegant her writing is. Her style is impeccable. The book is enjoyable, certainly for the average person, if not for everybody. I read scholarly books too, and very often come out thinking what a shame it is that in today's world scholarly books have to be "dry"and the writing "pompous" to be taken seriously. Many of these books really read like PhD theses - books that are written specifically for the purpose of obtaining the PhD. and are in fact terribly boring, devoid of life or/and showing no enthusiasm for their subject - certainly not written with the readers in mind. These books you read them when you really have to, and forget them just as fast.
4 of 11 people found the following review helpful.
Another weak art history effort
By Scoglio
Pluses: much shorter than her appalling book on J. L. David
Negatives: Not having a point of view, being a diffuse writer with uncontrollable tendencies to quick generalizations, not being informed by a valid analytical framework for art history. Without a Booker Prize, this would have been tossed immediately by potential publishers (and they may well have tossed their lunch).
0 of 8 people found the following review helpful.
I'll see you out front with a ten foot pole
By epic phlegm Hooha
This is a Y2K book, copyright 2000, with all the hopeful survival instincts of a society with banks that could convert their computer systems from using two digits for the year to whatever software was needed to make computations for years starting in 2000. That would not be such a big deal if a mainstream had been responsible for going down a few more times to the same river of mathematical concepts to keep everything booming like the dot.coms did back then and busted. There are some color reproductions of paintings in this book, but the text has the most significance for me in its descriptions of the obituary Baudelaire wrote for the death of Delacroix in 1863. Those people were not healthy, but Delacroix could be praised as an individual artist who found inspiration in being at the end of a chain of individual artistic achievements that was not at all like a jeep driving through Fallujah a few years after this book was published. Young artists in 1863 were like an invading force that believed it could fire the army disintegrating after the conquest of Iraq in 2003 and have private contractors train a new army.
The dying ideal of culture as an established European tradition made Baudelaire praise Delacroix as "an essential link in this chain, which had to be understood as the painter's birthright. Without him there would be a fatal gap." (p. 98).
Y2k was the kind of number that makes squatting out monetary mushroom clouds seem so modern that numbers in quantities that matter could only turn into a scheme for the fringes around the upper crust to decide how everybody else was going to run out of money.
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