"Watteau" Quotes from Famous Books
 ... might be selected as most characteristic of certain recurrent moods. That one on Denys L'Auxerrois, where the sweet, perilous legend of the exiled god—has he really been ever far from us, that treacherous Son of scorched white Flesh?—leads us so far, so strangely far. That one on Watteau, the Prince of Court Painters, where his passion for things faded and withdrawn reaches its climax. For Pater, like Antoine, is one of those always ready to turn a little wearily from the pressure of ...
— Visions and Revisions - A Book of Literary Devotions • John Cowper Powys
... the countess, half to herself, as she picked out a veritable Watteau from the rich collection; "I am young and free, and abhor constraint, yet I have ...
— A Cardinal Sin • Eugene Sue
... reached much the same stage. The Ming picture in the British Museum known as The Earthly Paradise is inferior to the best work of Botticelli, with which it is commonly compared, but reminds us, in its finished grace and gaiety, of a painting by Watteau. Korin, towards the end of the Ming period, is about as empty as Velasquez and more brilliant than Frans Hals. The eighteenth century, one inclines to believe, was the same everywhere. Stylistic obsession and the taste for material beauty ended in mechanical prettiness, altogether inexpressive ...
— Pot-Boilers • Clive Bell
... in a very artistically-furnished room. Its floor was of polished parquetry with a few fine skins from British Columbia spread upon it here and there, and the dainty, spindle-legged chairs, the little tables, the cabinets and the Watteau figures were, he fancied, either of old French manufacture or excellent copies. The big basement heater had apparently been extinguished, but a snapping wood-fire blazed upon the English pattern hearth, and, for the light ...
— The Gold Trail • Harold Bindloss
... nothing much better than Ogilby's translations of Homer, illustrated with big florid engravings in sham antique style. The years between 1730 and 1820, saw the French "little masters" in their perfection. The dress of the middle of the eighteenth century, of the age of Watteau, was precisely suited to the gay and graceful pencils of Gravelot, Moreau, Eisen, Boucher, Cochin, Marillier, and Choffard. To understand their merits, and the limits of their art, it is enough to glance through a series of the designs for Voltaire, Corneille, or Moliere. The drawings of society ...
— The Library • Andrew Lang
... incessant flash played as it were round the burnished cornice of the chamber, and threw a lurid hue on the scenes of Watteau and Boucher that sparkled in the medallions over the lofty doors. The thunderbolts seemed to descend in clattering confusion upon the roof. Sometimes there was a moment of dead silence, broken only ...
— Sybil - or the Two Nations • Benjamin Disraeli
... they wandered through the arbour-walks of this enchanting wilderness, that its beauty had been enhanced even by this very neglect. It seemed like a forest in a beautiful romance; a green and bowery wilderness where Boccaccio would have loved to woo, and Watteau to paint. So artfully had the walks been planned, that they seemed interminable, nor was there a single point in the whole pleasaunce where the keenest eye could have detected a limit. Sometimes you wandered in those arched and winding walks ...
— Henrietta Temple - A Love Story • Benjamin Disraeli
... time, sharing and interpreting the ideals of those around them, and were recognized and patronized as such. Rembrandt's greatest contemporary, Rubens, was painter in ordinary to half the courts of Europe, and Velazquez was the friend and companion of his king. Watteau and Boucher and Fragonard painted for the frivolous nobility of the eighteenth century just what that nobility wanted, and even the precursors of the Revolution, sober and honest Chardin, Greuze the sentimental, had no difficulty in making themselves understood, until the revolutionist David ...
— Artist and Public - And Other Essays On Art Subjects • Kenyon Cox
... to the time of Gericault painting in general held itself rather pedantically aloof from poetry. Claude, Chardin, what may be called the illustrated vers de societe of the Louis Quinze painters—of Watteau and Fragonard—even Prudhon, did little to change the prevailing color and tone. Claude's art is, in manner, thoroughly classic. His personal influence was perhaps first felt by Corot. He stands by himself, at any rate, quite apart. He was the first thoroughly original French painter, if indeed ...
— French Art - Classic and Contemporary Painting and Sculpture • W. C. Brownell
... a chest in the garret, the dowager Marquise of the proverb just played. And a little further, in the shadow of the doorway, stood Angelot in powdered wig, silk coat, and sword, looking like a handsome courtier from a group by Watteau, and his eyes showed plainly enough what woman, if not what cause, attracted him at the moment. As to causes, Monsieur Joseph and the Vicomte des Barres were deep in talk close by; two Chouans consulting in the ...
— Angelot - A Story of the First Empire • Eleanor Price |
