Principles of Art History by Heinrich Wolfflin
Author:Heinrich Wolfflin
Language: eng
Format: epub
Publisher: Dover Publications
Published: 2012-05-21T16:00:00+00:00
Canaletto
Now comes, too, that decoration of the Empire which replaces with absolute flatness the recessional interest of rococo decoration. Whether and how far it was antique forms which the new style used is neither here nor there beside the fundamental fact that they signified a new proclamation of plane beauty, of the same plane beauty as had already existed in the Renaissance, and then had had to yield to the increasing desire for recessional effects.
However far a panel of the Cinquecento may progress beyond the thinner and more transparent design of the Quattrocento in the power of its relief and its wealth of shadow effects, this is not yet an absolute contrast of style. That comes only at the moment at which the impression of plane is undermined. Nor can we forthwith speak of the ruin of art. Admitted that the quality of the decorative feeling was, on the average, superior earlier, as a principle, the other standpoint is possible too. And whoever cannot enjoy the dramatic effect of baroque is, after all, amply compensated by the grace of northern rococo.
A particularly illuminating field of observation lies in the iron work of garden and church railings, grave-crosses and inn-signs, where we are tempted to regard the flat models as invincible and where, for all that, by every possible device, a kind of beauty is realised which lies outside of pure plane. The more brilliant the achievements here, the more striking is the contrast when the new classicism again brings in the supremacy of plane and hence of line as resolutely as if no other possibility were conceivable.
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