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Intellectual leadership in the eighteenth century passes from France to economically, socially and politically more progressive England. The great ro… - Arnold Hauser
" "Intellectual leadership in the eighteenth century passes from France to economically, socially and politically more progressive England. The great romantic movement starts here about the middle of the century, but the enlightenment also receives its decisive impulse from this country. The French writers of the period see in English institutions the quintessence of progress and build up a legend around English liberalism—a legend which only partly corresponds to reality. The displacement of France as the upholder of culture by England proceeds hand in hand with the decadence of the French royal house as the leading European power and, hence, the eighteenth century sees the ascent of England both in politics and in the arts and sciences.
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About Arnold Hauser
Arnold Hauser (8 May 1892, Timişoara, Romania – 28 January 1978, Budapest) was a Hungarian art historian and prominent marxist in his field. He wrote on the influence of change in social structures on art.
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Additional quotes by Arnold Hauser
Rousseau’s ideas were in the air; he only expressed what many of his contemporaries knew, namely that they were faced with a choice and had to decide either for Voltairianism, with its reasonableness and respectability, or for the surrender of historical traditions and a completely new beginning. There is no personal relationship in the whole history of European culture with more profound symbolic significance than that between Voltaire and Rousseau.
There can be no question that such a gap existed in early Christian art. What has been praised in it as deliberate simplification, masterly concentration or conscious idealizing and intensifying of the actual is in reality often just incapacity and poverty, just a helpless inability to render natural forms correctly, and a primitive bungling of the drawing.<p>This clumsiness and ungainliness of early Christian art is not mastered until after the Edict of Toleration, when it became the official art of state and court, of aristocratic and educated circles.
We do not exactly know the sociological reason for reverence for the past; it may be rooted in tribal and family solidarity or in the endeavour of the privileged classes to base their privileges on heredity. However that may be, the feeling that what is old must be better is still so strong that art historians and archaeologists do not shrink even from historical falsification when attempting to prove that the style of art which appeals to them most is also the oldest.
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