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HISTORY OF ART
TRANSLATOR'S PREFACE
ART history is, in its essentials, the history of man, for no one can write the story of art in more than a superficial way without following out the relation of each school to the ideas of its period and its people. But it is even more than that: it is the history of the development of man as revealed by his art. Elie Faure, in the present history, pursues this idea with a fidelity and an understanding that it has never received till now. Indeed, one may almost say that such a work as this could not have been written earlier, for it has been only gradually that we have come to understand the relation of art to the character and surroundings of the races it represents. Various works on isolated artists and schools have dealt with their subject from this standpoint, but there existed no survey of the world's art as a whole until the four volumes of this series were written.
The professional, whether critic, teacher, or artist, will find in these pages the fullest application of the modern theory of history (for the governing idea here is one that goes beyond the limits of art history), while the layman will follow the epic of man's development in company with a passionate lover of beauty who has the gift of communicating his enthusiasm. It is a fallacy to believe that a book for the general reader should dilute the ideas of works addressed to specialists. The contrary is true: to meet the needs of persons of diverse interests, more intensity of idea is required, more breadth of scope, than is demanded of a treatise for specialists, whose concern with their subject will cause them to overlook dryness and diffuseness if a valuable theory is established or new facts are arrived at.
For a comparison of the older and the newer views of art history, the reader can scarcely be referred to anything clearer than M. Faure's own discussion in the preface to the new edition of this work (page xxxv). His brief reference there to the synoptic tables at the back of each volume may be supplemented by the assurances received from various close students of the special schools and epochs, who agree in vouching for the thoroughness with which this most objective compilation of names and dates has been made. A reference chart is thus constantly before the reader, serving him as a road map does a traveler. The text of most art histories does little more than amplify such tables. The characteristic which distinguishes Elie Faure's History of Art is that it shows the mass of facts functionally—as the living brain and heart of mankind.
The loyalty with which, in the preface mentioned, M. Faure defends the work of the archæologist is due in part to his appreciation of the material that the searchers for detail have placed at his disposal, but doubtless in part also to the fact that he himself knows the labor of obtaining the first-hand information on which the history and interpretation of art are built. At no one place, however (and one need not fear to lay too much stress on this point), does he fall into the error of imagining that an assembling of facts is history. Even when writing of arts like the Egyptian and the Greek, as to which his study on the historic sites has given him a special authority, even when treating of the Gothic period, as to which his knowledge is so profound as to make Mr. Have-lock Ellis apply the word "unsurpassable" to the chapters of this history on Gothic art—his modern understanding of his task causes him to refer constantly to the philosophy, social life, and ideals of the people under examination, and not to their art alone. He goes farther, and by a series of dramatic confrontations makes us realize the differences among the arts and their debt to one another.
ART history is, in its essentials, the history of man, for no one can write the story of art in more than a superficial way without following out the relation of each school to the ideas of its period and its people. But it is even more than that: it is the history of the development of man as revealed by his art. Elie Faure, in the present history, pursues this idea with a fidelity and an understanding that it has never received till now. Indeed, one may almost say that such a work as this could not have been written earlier, for it has been only gradually that we have come to understand the relation of art to the character and surroundings of the races it represents. Various works on isolated artists and schools have dealt with their subject from this standpoint, but there existed no survey of the world's art as a whole until the four volumes of this series were written.
The professional, whether critic, teacher, or artist, will find in these pages the fullest application of the modern theory of history (for the governing idea here is one that goes beyond the limits of art history), while the layman will follow the epic of man's development in company with a passionate lover of beauty who has the gift of communicating his enthusiasm. It is a fallacy to believe that a book for the general reader should dilute the ideas of works addressed to specialists. The contrary is true: to meet the needs of persons of diverse interests, more intensity of idea is required, more breadth of scope, than is demanded of a treatise for specialists, whose concern with their subject will cause them to overlook dryness and diffuseness if a valuable theory is established or new facts are arrived at.
For a comparison of the older and the newer views of art history, the reader can scarcely be referred to anything clearer than M. Faure's own discussion in the preface to the new edition of this work (page xxxv). His brief reference there to the synoptic tables at the back of each volume may be supplemented by the assurances received from various close students of the special schools and epochs, who agree in vouching for the thoroughness with which this most objective compilation of names and dates has been made. A reference chart is thus constantly before the reader, serving him as a road map does a traveler. The text of most art histories does little more than amplify such tables. The characteristic which distinguishes Elie Faure's History of Art is that it shows the mass of facts functionally—as the living brain and heart of mankind.
The loyalty with which, in the preface mentioned, M. Faure defends the work of the archæologist is due in part to his appreciation of the material that the searchers for detail have placed at his disposal, but doubtless in part also to the fact that he himself knows the labor of obtaining the first-hand information on which the history and interpretation of art are built. At no one place, however (and one need not fear to lay too much stress on this point), does he fall into the error of imagining that an assembling of facts is history. Even when writing of arts like the Egyptian and the Greek, as to which his study on the historic sites has given him a special authority, even when treating of the Gothic period, as to which his knowledge is so profound as to make Mr. Have-lock Ellis apply the word "unsurpassable" to the chapters of this history on Gothic art—his modern understanding of his task causes him to refer constantly to the philosophy, social life, and ideals of the people under examination, and not to their art alone. He goes farther, and by a series of dramatic confrontations makes us realize the differences among the arts and their debt to one another.
476 pages, Kindle Edition
First published January 1, 1921
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329 people want to read
About the author
Élie Faure
138 books20 followersJacques Élie Faure (4 April 1873 – 29 October 1937) was a French medical doctor, art historian and essayist.
Faure was called "the greatest art critic of the 1920s and 30s". He is the author of the History of Art, considered a historiographical pillar in the discipline.
Dr. Faure was drafted as a military doctor at the front line during the First World War. He was quickly traumatized by the fighting and moved to the rear of the battlefield.
His book, La Sainte Face (The Holy Face), published in 1917 retraces his time as a frontline doctor from August 1914 to August 1915. The second part, "Far from the Fire", describes his convalescence in Paris and Côte d'Azur.
Faure was called "the greatest art critic of the 1920s and 30s". He is the author of the History of Art, considered a historiographical pillar in the discipline.
Dr. Faure was drafted as a military doctor at the front line during the First World War. He was quickly traumatized by the fighting and moved to the rear of the battlefield.
His book, La Sainte Face (The Holy Face), published in 1917 retraces his time as a frontline doctor from August 1914 to August 1915. The second part, "Far from the Fire", describes his convalescence in Paris and Côte d'Azur.
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Displaying 1 - 3 of 3 reviews
September 21, 2015
It was three Pocket books. I was at high-school. I had spent all my money. But I wanted to have this books. Then, I stole them. It was easy in this time.
I love books. Nothing is more beautiful (except women) than book. Even damages, even old, a book remains beautiful.
Elie Faure had an encyclipedic projects. Resume in 3 books the world art history. Yesterday I found the 3 books in a box. They aged rather well. Admittedly, research in art modified our vision, but it is well made.
I love books. Nothing is more beautiful (except women) than book. Even damages, even old, a book remains beautiful.
Elie Faure had an encyclipedic projects. Resume in 3 books the world art history. Yesterday I found the 3 books in a box. They aged rather well. Admittedly, research in art modified our vision, but it is well made.
July 1, 2020
Originally written by Elie Faure in French. Translated to English by Walter Pach. Five Volumes spanning from 1903-1937. Ancient Art, Medieval Art, Renaissance Art, Modern Art, and The Spirit of The Forms. I couldn't find this information clearly summarized anywhere online, so I wanted to share here!
I can only speak to The Spirit of The Forms, but it was masterfully comprehensive and beautifully translated. At times it was very aesthetic in nature, and the analyses and critiques within covered everything from ancient cave drawings to modern organized religions. Highly recommend for anyone interested in art, history, philosophy, and / or religions. Left me wanting more, what a masterpiece!
I can only speak to The Spirit of The Forms, but it was masterfully comprehensive and beautifully translated. At times it was very aesthetic in nature, and the analyses and critiques within covered everything from ancient cave drawings to modern organized religions. Highly recommend for anyone interested in art, history, philosophy, and / or religions. Left me wanting more, what a masterpiece!
October 30, 2021
It's old and shows some of the biases of its time but A) dude can fucking write like no one's business, he's practically Proust, and B) it must've been a million times more inclusive and catholic than the art history texts of its time.
Displaying 1 - 3 of 3 reviews