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Stendhal et l'idéal moderne

Stendhal et l'idéal moderne The volume concludes with an essay on Stendhal, whose commentaries on antique sculpture mark a clear break with those of Chateaubriand, Mme de Staël, and the German Romantics. Like Balzac, he believes that art should reflect contemporary moral qualities, should be expressive not of physical force, but of feelings: love, suffering, tenderness, gaiety. Lombardo points out that Stendhal admired sculptors like Michelangelo and Canova, who adapted antique models for the representation of the affective life, and that his own writing style is, paradoxically, both classical in its restraint and "modern" in its expressiveness, its "feu de la saillie." (In French) http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Nineteenth Century French Studies University of Nebraska Press

Stendhal et l'idéal moderne

Nineteenth Century French Studies , Volume 35 (1) – Dec 11, 2006

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Publisher
University of Nebraska Press
Copyright
Copyright © 2006 The University of Nebraska Press.
ISSN
1536-0172
Publisher site
See Article on Publisher Site

Abstract

The volume concludes with an essay on Stendhal, whose commentaries on antique sculpture mark a clear break with those of Chateaubriand, Mme de Staël, and the German Romantics. Like Balzac, he believes that art should reflect contemporary moral qualities, should be expressive not of physical force, but of feelings: love, suffering, tenderness, gaiety. Lombardo points out that Stendhal admired sculptors like Michelangelo and Canova, who adapted antique models for the representation of the affective life, and that his own writing style is, paradoxically, both classical in its restraint and "modern" in its expressiveness, its "feu de la saillie." (In French)

Journal

Nineteenth Century French StudiesUniversity of Nebraska Press

Published: Dec 11, 2006

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