TAILIEUCHUNG - Euphorion Being Studies of the Antique and the Mediaeval in the Renaissance - Vol. II

Real and Ideal--these are the handy terms, admiring or disapproving, which criticism claps with random facility on to every imaginable school. This artist or group of artists goes in for the real--the upright, noble, trumpery, filthy real; that other artist or group of artists seeks after the ideal--the ideal which may mean sublimity or platitude. We summon every living artist to state whether he is a realist or an idealist; we classify all dead artists as realists or idealists; we treat the matter as if it were one of almost moral importance. Now the fact of the case is that the question of realism and. | Euphorion by Vernon Lee 1 Euphorion by Vernon Lee The Project Gutenberg EBook of Euphorion by Vernon Lee This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at Title Euphorion Being Studies of the Antique and the Mediaeval in the Renaissance - Vol. II Author Vernon Lee Release Date February 17 2010 EBook 31304 Language English Character set encoding ISO-8859-1 START OF THIS PROJECT GUTENBERG EBOOK EUPHORION Produced by Marc D Hooghe EUPHORION BEING STUDIES OF THE ANTIQUE AND THE MEDIEVAL IN THE RENAISSANCE BY VERNON LEE Author of Studies of the 18th Century in Italy Belcaro etc. Euphorion by Vernon Lee VOL. II. 2 TABLE OF CONTENTS. THE PORTRAIT ART THE SCHOOL OF BOIARDO MEDIEVAL LOVE EPILOGUE APPENDIX THE PORTRAIT ART I. Real and Ideal--these are the handy terms admiring or disapproving which criticism claps with random facility on to every imaginable school. This artist or group of artists goes in for the real--the upright noble trumpery filthy real that other artist or group of artists seeks after the ideal--the ideal which may mean sublimity or platitude. We summon every living artist to state whether he is a realist or an idealist we classify all dead artists as realists or idealists we treat the matter as if it were one of almost moral importance. Now the fact of the case is that the question of realism and idealism which we calmly assume as already settled or easy to settle by our own sense of right and wrong is one of the tangled questions of art-philosophy and one moreover which no amount of theory but only historic fact can ever set right. For to begin with we find realism and idealism coming before us in different ways and with different meaning and importance. All art which is not addressing as decrepit art is forced to do faculties to which it does not .

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