Art, Artists Society
Origin of a Modern Dilemma; Painting in England and France, 1750-1850 (Classic Reprint)

Excerpt from Art, Artists Society: Origin of a Modern Dilemma; Painting in England and France, 1750-1850<br><br>This study would not have been undertaken but for the suggestion of Professor Meyer Schapiro of Columbia University that I make a comparative, developmental study of painting in England And France during the late eigheenth and early nineteenth century, in terms of my interest in social psychology. I am also very grateful to Professor Ernst H. Gombrich, Director of the Warburg Institute University of London, for his stimulating criticism and many constructive suggestions. I wish to thank Dr. Leo Deuel for his helpful comments, and Mr. James A. Guiher, Jr., Mrs. Priscilla Hiss, and Mr. Walteo Langsam for their editorial contributions to the publication of this book.<br><br>Some of the material in this book originally appeared in an article, "The Image of the Artist," by the author in the Journal of Aesthetics and Art Criticism (Winter, 1962). Grateful acknowledgment is also made for permission to use excerpts from the following books: The Journal of Eugene Delacroix, translated by Walter Pach (Copyright, 1937. by Covici, Friede, Inc. Copyright, 1948, by Crown Publishers. Reprinted by permission of Crown Publishers, Inc.); Charles Baudelaire, The Mirror of Art, translated and edited by Jonathan Mayne (Phaidon Press, Ltd., 1955); and C.R. Leslie, Memoirs of the Life of John Constable (Phaidon Press, Ltd., 1951).<br><br>About the Publisher<br><br>Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com<br><br>This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.