By Jed Perl
Antoine Watteau, the most mysterious painters who ever lived, is the foundation for this pleasant research of the tangled dating among paintings and existence. Weaving jointly historic truth and private reflections, the influential artwork critic Jed Perl reconstructs the fantastic tale of this pioneering bohemian artist who, even supposing he died in 1721, whilst he was once merely thirty-six, has motivated innumerable painters and writers within the centuries since—and whose paintings keeps to deepen our figuring out of where that love, friendship, and delight have in our day-by-day lives.
Perl creates an brilliant adventure by way of collecting his reflections in this “master of silken surfaces and elusive emotions” within the kind of an alphabet—a fairy story for adults—giving us a brand new technique to take into consideration paintings. This fantastic college of a e-book is a hunt for the treasure of Watteau’s existence and imaginative and prescient that encompasses the glamour and intrigue of eighteenth-century Paris, the riotous background of Harlequin and Pierrot, and the paintings of such glossy giants as Cézanne, Picasso, and Samuel Beckett.
By turns somber and beguiling, analytical and impressionistic, Antoine’s Alphabet reaffirms the modern relevance of the best of all painters of younger love and imperishable goals. it's a booklet to savour, to percentage, to come to back and again.
From the Hardcover edition.
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Extra info for Antoine's Alphabet: Watteau and His World
The mass media (radio, television, newspapers), as well as the cultural media (literature, film, and theatre) quickly responded to the candidness of Gorbachev on the economic stagnation, waste, inefficiency, bureaucracy, corruption, shortcomings of Soviet life, and the misrepresentation of the past (Mondry, Woodby, Wyman, Zlotnik). Mikhail Shatrov’s historical plays, Anatolii Rybakov’s novels and Abuladze’s movie Repentance “stunned a people into a state of awareness” (Remnick, Lenin’s Tomb 42).
Totalitarian discourse denies all opposition, using the masses to spread the general norm, presenting it as a reflection of society itself. The agent of this totalitarian ideology—the Soviet leader, or “the militant type” as Lefort calls him—”completes the full expression of the attempt to efface the difference between individual and society, between the particular and the general, between the private and the public” (“On the Genesis” 72). Similarly, Mikhail Epstein conceives of a totalitarian ideology as all-embracing, incorporating all aspects of reality until the reality becomes indistinguishable from the ideology that transforms it: “[i]n a totalitarian society, ideology cannot be but a faithful reflection of reality because reality itself is a faithful reflection of ideology” (155).
Claude Lefort points out that the current conception of ideology is almost contrary to its original meaning: from “a logic of dominant ideas, concealed from the knowledge of social actors and only revealing itself through interpretation and in the critique of utterances and their manifest sequences, [ideology] has been reduced to a corpus of arguments, to the apparatus of beliefs, which provides the visible framework of a collective practice [liberal, Leninist-Stalinist, fascist]” (“On the Genesis” 47).
Antoine's Alphabet: Watteau and His World by Jed Perl