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Book Synopsis
Antoine-Chrysostome Quatremère de Quincy was widely regarded as the pre-eminent art theorist of his day and exerted tremendous influence over the development of the arts in nineteenth-century France, publishing over twenty books over his career. Translated into English for the first time by Michel-Antoine Xhignesse, this 1837 treatise on imitation in the arts represents one of his major theoretical works. Quatremère de Quincy argues, against the prevailing opinion of the day, that artistic imitation aims at communicating the essence of the thing represented (ideal imitation), rather than merely faithfully reproducing its life appearance (real imitation). In order to communicate the essence, he argues, the artist must prioritize the contributions of her imagination over the choice and appearance of her model. This represented a significant departure from other accounts of ideal imitation, such as Batteux's or Winckelmann's, which instead advocated combining the best features of several different models.

Quatremere de Quincys On the Ideal in the

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    A Hardback by Antoine Chrysostome Quatremere de Quincy

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      Publisher: Lexington Books
      Publication Date: Publication Date: 1/2/2024
      ISBN13: 9781666967647, 978-1666967647
      ISBN10: 1666967645
      Also in:
      History of art

      Description

      Book Synopsis
      Antoine-Chrysostome Quatremère de Quincy was widely regarded as the pre-eminent art theorist of his day and exerted tremendous influence over the development of the arts in nineteenth-century France, publishing over twenty books over his career. Translated into English for the first time by Michel-Antoine Xhignesse, this 1837 treatise on imitation in the arts represents one of his major theoretical works. Quatremère de Quincy argues, against the prevailing opinion of the day, that artistic imitation aims at communicating the essence of the thing represented (ideal imitation), rather than merely faithfully reproducing its life appearance (real imitation). In order to communicate the essence, he argues, the artist must prioritize the contributions of her imagination over the choice and appearance of her model. This represented a significant departure from other accounts of ideal imitation, such as Batteux's or Winckelmann's, which instead advocated combining the best features of several different models.

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