. Art in France. es, all those who betray the pathetic struggle of passion against form. Delacroix prized the independence of emotion and of personalfancy so highly, that he never conceived of painting as a representa-tion of reality. This, indeed, is the Romantic paradox. Thepainter cannot, of course, borrow his images from anything savenature; but to Delacroix, these images were only a means; hetook forms and colours from visible things, but, just as the poetchooses metaphors, only in order to speak more magnificently cfhimself. The Romanticists attacked the Classicists in the cftruth,
. Art in France. es, all those who betray the pathetic struggle of passion against form. Delacroix prized the independence of emotion and of personalfancy so highly, that he never conceived of painting as a representa-tion of reality. This, indeed, is the Romantic paradox. Thepainter cannot, of course, borrow his images from anything savenature; but to Delacroix, these images were only a means; hetook forms and colours from visible things, but, just as the poetchooses metaphors, only in order to speak more magnificently cfhimself. The Romanticists attacked the Classicists in the cftruth, for truth is the battle-cry of all yet Delacroix and hisgroup had a hearty con-tempt for objective accu-racy ; no school was everless docile to the exigenciesof representation, or lesscapable of imaginationelaborated a world too fullof colour and poetry for himto have ever dreamt of sac-rificing it to the universe olour actual vision. A per-petual fount of fictive images. OK KC. (.Must-urn of Wrsailles.) 332 THE ROMANTIC PERIOD
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Keywords: ., bookcentury1900, bookdecade1910, bookpublishernew, booksubjectart
