British writer GILBERT KEITH CHESTERTON (1874-1936) expounded prolifically about his wide-ranging philosophies-he is impossible to categorize as "liberal" or "conservative," for instance-across a wide variety of avenues: he was an arts critic, historian, playwright, novelist, columnist, and poet. His witty, humorous style earned him the title of the "prince of paradox," and his works-80 books and nearly 4,000 essays-remain among the most beloved in the English language. First published in 1904, this is Chesterton's analysis of English painter and sculptor George Frederick Watts. One of his first books, it explores, through Chesterton's own artistic eye, the meanings and the beauty of the work of one of the most honored artists of his day, and remains an incisive masterpiece of critical thought. This replica edition includes all the original illustrations, including the beautiful sepia tones of Watts' paintings.
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agnosticism allegorical art allegories of Watts appear art of Watts artistic asceticism austere awful Browning called canvas Carlyle Celt Celtic certainly character characteristic of Watts colours Commerce Constantine Ionides convey cornucopia COSIMO BOOKS course Court of Death curve didactic doubt draughtsmanship element English eternal ethics Eve Repentant eyes fact faith fancy fantastic feel figure Fra Angelico galleries George Frederick Watts Gladstone head human human back idea instance John Stuart Mill kind King Arthur language light look Lord LORD TENNYSON magnificent Mammon matter Matthew Arnold mean merely Millais Minotaur modern moral mysticism never nineteenth century noble pagan painter philosophy phrase pictorial picture poet pompous portraits Pre-Raphaelite Puritan reality robe Rossetti Roundhead scarcely sense simply sitter soul spirit of Watts splendid Stoicism strong suggest symbol talk technical technique Tennyson theory thing thought true truth Victorian Whistler whole William Morris word hope worship
Page 3 - It will appear to many a somewhat grotesque matter to talk about a period in which most of us were born and which has only been dead a year or two, as if it were a primal Babylonian empire of which only a few columns are left crumbling in the desert. And yet such is, in spirit, the fact. There is no more remarkable psychological element in history than the way in which a period can suddenly become unintelligible. To the early Victorian period we have in a moment lost the key : the Crystal Palace...