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Cubist and Post-Impressionism (Illustrated)
Cubist and Post-Impressionism (Illustrated)
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"It is the purpose of this book to describe some of the changes that are taking place and try to explain them in plain, everyday terms." So the author tells us in his first chapter and in the ensuing pages he admirably performs the task he has set himself.
That Mr. Eddy's book is timely one need scarcely say. It supplies a well-defined want. We daily hear on every hand a vast deal of twaddle about Cubism, Futurism, Post-Impressionism and various other "isms" of more or less recent growth. Some of the twaddle comes from people who do not know whereof they speak, but wish to, and some of it comes from people who ought to know but do not. In either case Mr. Eddy's pages may be carefully perused and digested with great profit and, we might add, pleasure.
The style is refreshing and has plenty of "go" to it so that the reader's unflagging interest is held from cover to cover. This retention of unabated interest may be considered a fair test of peculiarly virile writing notwithstanding the occasional literary heterodoxies into which the author falls. But then, why should he not? He is flaying the smug, self-satisfied, academically orthodox interpretation of art and explaining the newer movements with all their vigorous, rampant heterodoxy, so why should not the style and matter correspond?
One of the best features of the criticisms and explanations is that they jolt many a preconceived conventional notion and make one think. True, a reader may totally disagree with both premises and conclusions as the author sets them forth, but the mental jolting is of inestimable value. However, the author is not bitter nor polemical but only naive and. though it is plain to be seen where his sympathies lie, he does not try to force his opinions or convictions down his reader's throats but tactfully leaves them to digest and assimilate the facts he has set before them, as best they may.
In addition to being written in a stimulating vein and giving, as it sets out to do, a lucid presentation of the principles of the most modern painting, the book contains many engaging philosophical observations and highly entertaining obiter dicta that make its perusal a source of sustained and chuckling satisfaction. Here is an especially illuminating bit: "We are all Impressionists and Futurists at some times in our lives, but we tend to petrify. Sclerosis of the arteries is bad, but nothing compared with sclerosis of the emotions. We not only tend to become petrified as we grow older, but even in our youth we have our petrified sides, our hard spots.
With 42 Reproductions in Color of Cubist and Post-Impressionist Paintings and 17 Half-Tone Illustrations.
That Mr. Eddy's book is timely one need scarcely say. It supplies a well-defined want. We daily hear on every hand a vast deal of twaddle about Cubism, Futurism, Post-Impressionism and various other "isms" of more or less recent growth. Some of the twaddle comes from people who do not know whereof they speak, but wish to, and some of it comes from people who ought to know but do not. In either case Mr. Eddy's pages may be carefully perused and digested with great profit and, we might add, pleasure.
The style is refreshing and has plenty of "go" to it so that the reader's unflagging interest is held from cover to cover. This retention of unabated interest may be considered a fair test of peculiarly virile writing notwithstanding the occasional literary heterodoxies into which the author falls. But then, why should he not? He is flaying the smug, self-satisfied, academically orthodox interpretation of art and explaining the newer movements with all their vigorous, rampant heterodoxy, so why should not the style and matter correspond?
One of the best features of the criticisms and explanations is that they jolt many a preconceived conventional notion and make one think. True, a reader may totally disagree with both premises and conclusions as the author sets them forth, but the mental jolting is of inestimable value. However, the author is not bitter nor polemical but only naive and. though it is plain to be seen where his sympathies lie, he does not try to force his opinions or convictions down his reader's throats but tactfully leaves them to digest and assimilate the facts he has set before them, as best they may.
In addition to being written in a stimulating vein and giving, as it sets out to do, a lucid presentation of the principles of the most modern painting, the book contains many engaging philosophical observations and highly entertaining obiter dicta that make its perusal a source of sustained and chuckling satisfaction. Here is an especially illuminating bit: "We are all Impressionists and Futurists at some times in our lives, but we tend to petrify. Sclerosis of the arteries is bad, but nothing compared with sclerosis of the emotions. We not only tend to become petrified as we grow older, but even in our youth we have our petrified sides, our hard spots.
With 42 Reproductions in Color of Cubist and Post-Impressionist Paintings and 17 Half-Tone Illustrations.
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