“Although the great revolution of 1793 changed the whole face of France both politically and socially, it failed to emancipate the twin arts of painting and literature. In each case one tradition was succeeded by another, and nearly forty years elapsed before the new spirit completely broke through the barriers set up by a past generation.”

— Wynford Dewhurst

Source: Impressionist Painting: its genesis and development. (1904), p. 1: Ch. 1. The evolution of the impressionistic idea.

Adopted from Wikiquote. Last update June 3, 2021. History

Help us to complete the source, original and additional information

Do you have more details about the quote "Although the great revolution of 1793 changed the whole face of France both politically and socially, it failed to eman…" by Wynford Dewhurst?

Wynford Dewhurst photo

Wynford Dewhurst 9

British artist 1864–1941

Related quotes

“Our political tradition sets great store by the generalized symbol of evil. This is the wrongdoer whose wrongdoing will be taken by the public to be the secret propensity of a whole community or class.”

John Kenneth Galbraith book The Great Crash, 1929

Chapter VIII https://openlibrary.org/books/OL25728842M/The_Great_Crash_1929, Aftermath II, Section IV, p 154
The Great Crash, 1929 (1954 and 1997 https://openlibrary.org/books/OL25728842M/The_Great_Crash_1929)

“Women began their inner emancipation by their access to literature, by access to the world through books; an access they could not have socially or politically, or of course economically, in the world at large.”

George Steiner (1929–2020) American writer

Do Books Matter? (ed. Brian Baumfield), ISBN 0705700143, p. 19
Do Books Matter?

“[T]he effects of general change [in literature] are most tellingly recorded not in alteration of the best products, but in the transformation of the most ordinary workaday books; for when potboilers adopt the new style, then the revolution is complete.”

Stephen Jay Gould (1941–2002) American evolutionary biologist

"Good Sports & Bad", p. 335; originally published in The New York Review of Books (1995-03-02)
Triumph and Tragedy in Mudville (2003)

“Being an artist now means to question the nature of art. If one is questioning the nature of painting, one cannot be questioning the nature of art. If an artist accepts painting (or sculpture) he is accepting the tradition that goes with it. That’s because the word art is general and the word painting is specific. Painting is a kind of art. If you make paintings you are already accepting (not questioning) the nature of art. One is then accepting the nature of art to be the European tradition of a painting-sculpture dichotomy.”

Joseph Kosuth (1945) American conceptual artist

Joseph Kosuth in: Arthur R. Rose, “Four Interviews,” Arts Magazine (February, 1969).

“They [the younger woman artists in American Abstract Expressionism: Helen Frankenthaler and Joan Mitchell, ] are the next generation and it is another scene, another story. You forget that in my generation Paris was still the leading school of painting and this situation was being changed by a tiny handful of artists to a scene called New York, America, which never before had a leading role in the art world. That didn’t happen just by reading a newspaper. Now the next generation comes in and they may think it is rough for them but it is a pie... We broke the ground.”

Lee Krasner (1908–1984) American artist

Source: Art Talk, Conversations with 15 woman artists 1975, p. 80.

“The road to death is a long march beset with all evils, and the heart fails little by little at each new terror, the bones rebel at each step, the mind sets up its own bitter resistance and to what end? The barriers sink one by one, and no covering of the eyes shuts out the landscape of disaster, nor the sight of crimes committed there.”

Katherine Anne Porter (1890–1980) American journalist, essayist, short story writer, novelist, and political activist

"Pale Horse, Pale Rider" (1939)

“One way to clarify the origin and character, if not the justification, of the ideal inspiring our programmatic institutional ideas is to say that our program arises from the generalization of aims broadly shared by the great secular doctrines of emancipation of the recent past—both liberal and socialist—and by the social theories that supported them. At the heart of each of these doctrines lay the belief that the weakening of social divisions and hierarchies would reveal deeper commonalities and liberate productive and creative powers. The theoretical and practical consequences of this belief were drastically constricted by dogmatic assumptions about the possible forms of social change and their possible institutional expressions. We have attacked the second set of constraints and therefore, by implication, the first. The result is a more generalized or radicalized version of the social ideal. Our attack on these constraints has led us to rethink the content of the progressive cause.”

Roberto Mangabeira Unger (1947) Brazilian philosopher and politician

Source: The Critical Legal Studies Movementː Another Time, A Greater Task (2015), p. 104-5

“The dominant, almost general, idea of revolution — particularly the Socialist idea — is that revolution is a violent change of social conditions through which one social class, the working class, becomes dominant over another class, the capitalist class. It is the conception of a purely physical change, and as such it involves only political scene shifting and institutional rearrangements. Bourgeois dictatorship is replaced by the "dictatorship of the proletariat" — or by that of its "advance guard," the Communist Party. Lenin takes the seat of the Romanovs, the Imperial Cabinet is rechristened Soviet of People's Commissars, Trotsky is appointed Minister of War, and a labourer becomes the Military Governor General of Moscow. That is, in essence, the Bolshevik conception of revolution, as translated into actual practice.”

Emma Goldman book My Disillusionment in Russia

My Disillusionment in Russia (1923)

“The cinema is not an art which films life: the cinema is something between art and life. Unlike painting and literature, the cinema both gives to life and takes from it, and I try to render this concept in my films. Literature and painting both exist as art from the very start; the cinema doesn’t.”

Jean-Luc Godard (1930) French-Swiss film director, screenwriter and film critic

Quoted in: Richard Roud, Godard, introduction (1970).

“On the eve of the industrial revolution there were on every side signs of political change. But the French Revolution frightened statesmen, and political reform in England was delayed for nearly half a century.”

Arnold Toynbee (1852–1883) British economic historian

Source: Lectures on The Industrial Revolution in England (1884), p. 195

Related topics