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Ut pictura poesis (Aesthetics) --- Art and literature - France - History - 19th century.

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Une analyse de la période impressionniste, en littérature comme en peinture, afin de comprendre comment les peintres influencent les écrivains, et réciproquement.

Art styles --- Painting --- Literature --- anno 1800-1899 --- Impressionism --- Impressionnisme --- Impressionnisme (litterature) --- French literature --- Impressionism in literature --- Impressionism (Art) --- Art and literature --- History and criticism --- History --- French literature - 19th century - History and criticism --- Impressionism (Art) - France --- Art and literature - France - History - 19th century

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La primauté de l'art trouve en Théophile Gautier son défenseur le plus acharné. C'est lui qui a donné à l'expérience esthétique, aux hommes qui l'administrent, aux objets qui l'inspirent un rang, une puissance, une sacralité inédits. Pour placer l'art au plus haut, Gautier en a fait une religion. Le contempteur du christianisme, le matérialiste hédoniste, a fait de l'art quelque chose de sacré. La religion de l'art est le paradoxe d'une émotion à la fois sensorielle et transcendante, qui entraîne en dehors de tout contexte, au-delà de toute contingence, par-dessus toute mesure.

Art and literature --- French literature --- History --- History and criticism --- Philosophy --- Gautier, Théophile, --- Criticism and interpretation --- Art and literature - France - History - 19th century - Congresses --- French literature - 19th century - History and criticism - Congresses --- French literature - 19th century - Philosophy - Congresses --- Gautier, Théophile, - 1811-1872 - Criticism and interpretation - Congresses --- Gautier, Théophile, - 1811-1872

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"Realist novels are celebrated for their detailed attention to ordinary life. But two hundred years before the rise of literary realism, Dutch painters had already made an art of the everyday - pictures that served as a compelling model for the novelists who followed. By the mid-1800s, seventeenth-century Dutch painting figured virtually everywhere in the British and French fiction we esteem today as the vanguard of realism. Why were such writers drawn to this art of two centuries before? What does this tell us about the nature of realism?" "In this book, Ruth Yeazell explores the nineteenth century's fascination with Dutch painting, as well as its doubts about an art that had long challenged traditional values." "After showing how persistent tensions between high theory and low genre shaped criticism of novels and pictures alike, Art of the Everyday turns to four major novelists - Honore de Balzac, George Eliot, Thomas Hardy, and Marcel Proust - who strongly identified their work with Dutch painting. For all these writers, Dutch art provided a model for training themselves to look closely at the particulars of middle-class life." "Yet even as nineteenth-century novelists strove to create illusions of the real by modeling their narratives on Dutch pictures, Yeazell argues, they chafed at the model. A concluding chapter on Proust explains why the nineteenth century associated such realism with the past and shows how the rediscovery of Vermeer helped resolve the longstanding conflict between humble details and the aspirations of high art."--Jacket.

Fiction --- Comparative literature --- Painting --- anno 1800-1899 --- Netherlands --- English fiction --- Art and literature --- French fiction --- Realism in literature --- Painting, Dutch --- History and criticism --- History --- Influence --- Realism in literature. --- History and criticism. --- Influence. --- Dutch painting --- Neorealism (Literature) --- Magic realism (Literature) --- Mimesis in literature --- English fiction - 19th century - History and criticism --- Art and literature - Great Britain - History - 19th century --- French fiction - 19th century - History and criticism --- Art and literature - France - History - 19th century --- Painting, Dutch - 17th century - Influence

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Ce livre est l'occasion de relire l'œuvre des Goncourt et de rectifier l'image que l'on se faisait traditionnellement des deux frères. Ces inventeurs de l'écriture artiste, dans une ambition constamment réaffirmée de renouveler les formes littéraires, ont poussé à l'extrême la déconstruction du romanesque, transformé le journal intime en journal de l'homme de lettres. Leur poétique, qui trouve dans la dissonance matière à enchantement, se veut «résolument moderne». Ils ont eu le culte du document, mais chez eux, la captation de l'intime s'énonce souvent sur fond de mort. Cherchant à fixer l'éphémère, ils se portent aux limites du représentable.

Bakhtin, Michael M. --- Literature --- Littérature --- Aesthetics --- Congresses --- Esthétique --- Congrès --- Bakhtin, M. M. --- Criticism and interpretation --- Critique et interprétation --- Art and literature --- Art criticism --- Art in literature. --- Art criticism. --- History --- Goncourt, Edmond de, --- Goncourt, Jules de, --- Criticism and interpretation. --- Littérature française --- Critique littéraire --- Littérature --- Histoire et critique --- Théorie, etc. --- Bahtin, Mihail Mihailovič --- Influence. --- Art and literature - France - History - 19th century. --- Art criticism - France - History - 19th century. --- Goncourt, Edmond de, - 1822-1896 - Criticism and interpretation. --- Goncourt, Jules de, - 1830-1870 - Criticism and interpretation. --- Bakhtin, M. M., --- Goncourt, Edmond de, - 1822-1896 --- Goncourt, Jules de, - 1830-1870 --- Art in literature