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Chinese Painters A Critical Study   By: (1872-1917)

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Transcriber's Note: 1. There is one instance each of Huang Yin Piau and Huang Yin Piao, and Yün Shou p'ing and Yün Chou p'ing so they have been left as printed. 2. In this text the breve has been rendered as [)u]

CHINESE PAINTERS

CHINESE PAINTERS A CRITICAL STUDY

BY RAPHAEL PETRUCCI

TRANSLATED BY FRANCES SEAVER

WITH A BIOGRAPHICAL NOTE BY LAURENCE BINYON OF THE BRITISH MUSEUM

AND WITH TWENTY FIVE ILLUSTRATIONS IN DUOTONE

NEW YORK BRENTANO'S PUBLISHERS

COPYRIGHT, 1920, BY BRENTANO'S

All rights reserved

THE · PLIMPTON · PRESS NORWOOD · MASS · U·S·A

PREFACE

A translator can have but one aim to present the thought of the author faithfully. In this case an added responsibility is involved, since one who had so much to give to the world has been taken in his prime. M. Petrucci has written at length of art in the Far East in his exhaustive work La Philosophie de la Nature dans l'Art d'Extrême Orient and elsewhere, and has demonstrated the wide scope of his thought and learning. The form and style in Peintres Chinois are the result of much condensation of material and have thus presented problems in translation, to which earnest thought has been given.

In deference to the author's wish the margin has not been overladen and only a short tribute, by one able to speak of him from personal knowledge, has been included, together with a few footnotes and a short bibliography of works of reference indispensable to the student who will pursue this absorbing study. The translator takes this opportunity to make grateful acknowledgement of her debt to the authors named, who have made such valuable information available, and to those friends who have read the manuscript and made many helpful suggestions.

FRANCES SEAVER

BIOGRAPHICAL NOTE

In Raphael Petrucci, who died early in 1917, the world has lost one of the ablest and most devoted students and interpreters of the art of the Far East. He was only forty five years of age, in the prime of his powers, brimming with energy and full of enterprises that promised richly. Though he did not die in the field, he was none the less a victim of the war. He had exhausted himself by his labours with the Belgian ambulances at La Panne, for Belgium was his adopted country. He had a house in Brussels, filled with a collection of Chinese and Japanese art, and a little cottage near the coast just over the borders of Holland. He came of the great and ancient Sienese family of the Petrucci, but his mother was French and he spent much of his earlier life in Paris, before settling in Brussels and marrying one of the daughters of the painter Verwée. He had also spent some time in Russia. In Brussels he was attached to the Institut Solvay.

He was a man of science, a student of and writer on sociology and biology. He lectured on art and had a knowledge of the art of the world which few men in Europe rivalled. He wrote a philosophic novel, La Porte de l'Amour et de la Mort , which has run through several editions. He published a book on Michelangelo's poetry. At the same time he was a scientific engineer. When war broke out Petrucci was on his way home from Italy, where he had been engaged, I believe, on some large engineering project and he only got out of Switzerland into France by the last train which left Basle. He came to England for a time, looking after a number of Belgian refugees, including some very distinguished artists. At the end of 1914 he was engaged by the India office to do some valuable work in London on the collection of Chinese and Tibetan paintings brought back from Tun huang by Sir Aurel Stein... Continue reading book >>




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