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    Chinese Painters
    Chinese Painters
    Chinese Painters
    Ebook108 pages48 minutes

    Chinese Painters

    By Raphaël Petrucci

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    About this ebook

    With 25 black-and-white illustrations. According to the biographical note: "In Raphael Petrucci, who died early in 1917, the world has lost one of the ablest and most devoted students and interpreters of the art of the Far East. He was only forty-five years of age, in the prime of his powers, brimming with energy and full of enterprises that promised richly... Raphael Petrucci was a man who seemed to reincarnate the boundless curiosity and the various ability of the men of the Italian Renaissance. But for some years before his death he had concentrated his powers chiefly on the study of Oriental art, of the Chinese language, and of Buddhist iconography. His most important work in this line is La Philosophie de la Nature dans l’Art d’Extrême Orient, a sumptuously printed folio published by Laurens in Paris, with illustrations by the Kokka Company, and written with as much charm as insight. Petrucci’s knowledge of Chinese gave him an authority in interpreting Chinese art which writers on the subject have rarely combined with so much understanding of art in general, though as a connoisseur he was sometimes over-sanguine."

    LanguageEnglish
    PublisherSeltzer Books
    Release dateMar 1, 2018
    ISBN9781455430765
    Chinese Painters

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      Book preview

      Chinese Painters - Raphaël Petrucci

      CHINESE PAINTERS, A CRITICAL STUDY BY RAPHAEL PETRUCCI

      TRANSLATED BY FRANCES SEAVER

      WITH A BIOGRAPHICAL NOTE BY LAURENCE BINYON of the British Museum

      AND WITH TWENTY-FIVE ILLUSTRATIONS IN DUOTONE

      Published by Seltzer Books

      established in 1974, as B&R Samizdat Express

      offering over 14,000 books

      feedback welcome: seltzer@seltzerbooks.com

      Art books available from Seltzer Books:

      Constable by Hind

      Japan, a Record in Color by Menpes

      Leonardo da Vinci by Brockwell

      Rembrandt by Menpes

      Romney by Hind

      Lives of the Most Eminent Painters by Vasari

      Masters of Water-Colour Painting by Holme

      The French Impressionists by Mauclair

      Beeton's Book of Needlework

      Chinese Painting by Petrucci

      NEW YORK, BRENTANO’S

      PUBLISHERS, COPYRIGHT, 1920, BY BRENTANO’S

      All rights reserved

      THE · PLIMPTON · PRESS, NORWOOD · MASS · U·S·A

      PREFACE

      BIOGRAPHICAL NOTE

      PART ONE: TECHNIQUE

      I. EQUIPMENT OF THE PAINTER

      II. REPRESENTATION OF FORMS

      III. DIVISION OF SUBJECTS

      IV. INSPIRATION

      PART TWO: THE EVOLUTION OF CHINESE PAINTING

      I. ORIGINS

      II. BEFORE THE INTERVENTION OF BUDDHISM

      III. THE INTERVENTION OF BUDDHISM

      ’IV. THE T’ANG PERIOD—SEVENTH TO TENTH CENTURIES

      V. THE SUNG PERIOD—TENTH TO THIRTEENTH CENTURIES

      VI. THE YÜAN PERIOD—THIRTEENTH AND FOURTEENTH CENTURIES

      VII. THE MING PERIOD—FOURTEENTH TO SEVENTEENTH CENTURIES

      ’VIII. THE CH’ING PERIOD—SEVENTEENTH TO TWENTIETH CENTURIES

      CONCLUSION

      BIBLIOGRAPHY

      INDEX OF PAINTERS AND PERIODS

      FOOTNOTES

      PREFACE

      A translator can have but one aim—to present the thought of the author faithfully. In this case an added responsibility is involved, since one who had so much to give to the world has been taken in his prime. M. Petrucci has written at length of art in the Far East in his exhaustive work La Philosophie de la Nature dans l’Art d’Extrême Orient and elsewhere, and has demonstrated the wide scope of his thought and learning. The form and style in Peintres Chinois are the result of much condensation of material and have thus presented problems in translation, to which earnest thought has been given.

      In deference to the author’s wish the margin has not been overladen and only a short tribute, by one able to speak of him from personal knowledge, has been included, together with a few footnotes and a short bibliography of works of reference indispensable to the student who will pursue this absorbing study. The translator takes this opportunity to make grateful acknowledgement of her debt to the authors named, who have made such valuable information available, and to those friends who have read the manuscript and made many helpful suggestions.

      Frances Seaver

      BIOGRAPHICAL NOTE

      In Raphael Petrucci, who died early in 1917, the world has lost one of the ablest and most devoted students and interpreters of the art of the Far East. He was only forty-five years of age, in the prime of his powers, brimming with energy and full of enterprises that promised richly. Though he did not die in the field, he was none the less a victim of the war. He had exhausted himself by his labours with the Belgian ambulances at La Panne, for Belgium was his adopted country. He had a house in Brussels, filled with a collection of Chinese and Japanese art, and a little cottage near the coast just over the borders of Holland. He came of the great and ancient Sienese family of the Petrucci, but his mother was French and he spent much of his earlier life in Paris, before settling in Brussels and marrying one of the daughters of the painter Verwée. He had also spent some time in Russia. In Brussels he was attached to the Institut Solvay.

      He was a man of science, a student of and writer on sociology and biology. He lectured on art and had a knowledge of the art of the world which few men in Europe rivalled. He wrote a philosophic novel, La Porte de l’Amour et de la Mort, which has run through several editions. He published a book on Michelangelo’s poetry. At the same time he was a scientific engineer. When war broke out Petrucci was on his way home from Italy, where he had been engaged, I believe, on some large engineering project and he only got out of Switzerland into France by the last train which left Basle. He came to England for a time, looking after a number of Belgian refugees, including some very distinguished artists. At the end of 1914 he was engaged by the India office to do some valuable work in London on the collection of Chinese and Tibetan paintings brought back from Tun-huang by Sir Aurel Stein. He then worked at La Panne for the Belgian army hospital (he had had a medical training in his youth), went to Provence for a rest, fell ill and died in Paris after an operation.

      Raphael Petrucci was a man who seemed to reincarnate the boundless curiosity and the various ability of the men of the Italian Renaissance. But for some years before his death he had concentrated his powers chiefly on the study of Oriental art, of the Chinese language, and of Buddhist iconography. His most important work in this line is La Philosophie de la Nature dans l’Art d’Extrême Orient, a sumptuously printed folio published by Laurens in Paris, with illustrations by the Kokka Company, and written with as much charm as insight. Petrucci’s knowledge of Chinese gave him an authority in interpreting Chinese art which writers on the subject have rarely combined with so much understanding of art in general, though as a connoisseur he was sometimes over-sanguine. His translation from a classic of Chinese art-criticism, originally published in a learned magazine, has lately appeared in book form. With his friend, Professor Chavannes, whose death, also in the prime of life, we have had to deplore still more recently, Petrucci edited the first volume of the splendid series Ars Asiatica. The present work, intended for the general reader and lover of art, illustrates his gift for luminous condensation and the happy treatment of a large theme.

      A man of winning manners, a most generous and loyal friend, Petrucci wore his manifold

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