A Quote by Terry Teachout

Even the Impressionists, the most innovative artists of their time, sought to paint realistically. They believed that their freer way of portraying the visible world was truer to life than the literal realism of the 'salon painters' who dominated French art throughout the 19th century.
There are, of course, always painters whom I admire and find fascinating. I've often thought, 'Goodness, if I could paint like the Danish Golden Age painters, the early 19th century painters, the way they could paint a landscape - absolutely beautiful.'
I'm going to start these art museums that are basically converted homes, and I have one for modern art, and I have one for 19th century European art, and one for French impressionism. I've got Japanese.
Its highest point was The Worst Journey in the World. Then you see this decline, and this harking back, using the 19th-century form when we're not in the 19th century. That way of writing a book about the world out there - you just can't do it anymore.
All inspired painters are impressionists, even though it be true that some impressionists are not inspired.
Maine likes to call itself 'America's Vacationland.' For many artists, though, it's the office. Since the 19th century, painters from all over the country - including Edward Hopper, Alex Katz, John Marin, Fairfield Porter, Neil Welliver and Andrew Wyeth - have spent large chunks of time there.
to "set the standard for beauty in classical and modem cookery, and attest to the distant future that the French chefs of the 19th century were the most famous in the world.
We had much freer trade in the 19th century. We have much less globalization now than we did then.
There was once a time when art history and film were basically the same medium, but art history is frozen in late-19th-century technology that has survived into the early 21st century.
When I was a kid, I looked at art as a way of blending everything. One of my favorite composers is Wagner - who coined the term "gesamtkunstwerk," or "total art work." That's what was going on in the 19th century, and the 20th century just kept it going.
Kafka's inevitable tropism for the allegorical puts him in marked opposition to the realism that dominated the literary world of the first half of the 20th century.
The French, whose fascination with 19th-century Japanese painting and decorative art led them to coin the term 'Japonisme,' have reciprocated the interest, and the exchange - in food, fashion and design - is ongoing. After all, these are two countries where style is considered essential to life.
Painters paint outdoors, or in rooms full of people; they paint their lovers, alone, naked; they paint and eat; they paint and listen to the radio. It is a soothing way of doing your job.
There is not one particular moment that can account for the shift from the social issue concerns of 19th-century evangelicals into the state of American evangelicalism today. Some historical moments are telling. The rise of biblical criticism in the 19th century forced evangelicals to make choices about what they believed about the gospel.
Norman Rockwell spent his career painting pictures that helped people understand their own feelings...pictures that enriched their own experiences and celebrated their own lives. But the art establishment branded him an 'illustrator', a sentimental one at that. Real artists, they said were doing art for art's sake, not for the sake of the bourgeois public. Real artists were putting swiggles, smears or daubs of paint on the canvas. They were doing 'innovative' and 'creative' work. If they were hideous and grotesque; we know that's what life really is!
In 19th-century France, artists were part of government. Artists are very sensitive to their time. They're very thoughtful people - it makes sense to hear what they have to say.
The cave art of Madison Avenue has been by far the most innovative and educative art form of the twentieth century.
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