Théophile Gautier

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Gautier, Théophile


Born Aug. 31, 1811, in Tarbes; died Oct. 22, 1872, in Neuilly, near Paris. French writer and critic.

In his youth Gautier was an adherent of romanticism but later became the spiritual father of the Parnassian school. His early Poems (1830), the narrative poem Albertus (1833), the tales Young France (1833), and the verse collection Comedy of Death (1838) exhibit traces of Byronic demonism; he combined an inclination to fantasy with measured verse. Rejecting bourgeois everyday life as a kingdom of vulgar men and hucksters, Gautier gave one of the first full-scale substantiations of the theory of “art for art’s sake,” in the foreword to the novel Mademoiselle de Maupin (1835–36) and in articles in the book The New Art (1852). He rejected both petit bourgeois moralizing and democratic ideological content in literature. In the lyric miniatures of the collection Enamels and Cameos (1852; Russian translation, 1914), the elegance, fluidity, and color of things underscore his indifference to what he considers transitory passions.

Gautier’s penchant for the picturesque re-creation of distant periods and countries found expression in his Novel About a Mummy (1858; Russian translation, 1911), set in ancient Egypt; in his adventure novel about the life of itinerant actors in 17th-century France, Captain Fracasse (1863, Russian translation, 1895, 1957; expanded French editions in 1929, 1942, 1961, France); and in Journey to Russia (1867).

Gautier’s more interesting works of criticism include Grotesques (1844), about forgotten poets of the 15th through 17th centuries, A History of Romanticism (1874, posthumous), and his essay on Baudelaire (Russian translation, 1915). V. G. Benediktov, V. Ia. Briusov, and N. S. Gumilev have translated Gautier’s poetry into Russian.


Oeuvres choisies. Paris, 1930.
Contes fantastiques. Paris, 1962.
In Russian translation:
Izbr. stikhi
. Paris, 1923.


Istoriia frantsuzskoi literatury, vol. 2. Moscow, 1956.
Spoelberch de Lovenjoul, C. Histoire des oeuvres de T. Gautier, vols. 1–2. Paris, 1887.
Jasinski, R. Les Années romantiques de T. Gautier. Paris, 1929.
Larguier, L. Théophile Gautier. Paris, 1948.
Richardson, J. T. Gautier, His Life and Times. New York [1959].
Delvaille, B. Théophile Gautier. Paris, 1968.


References in classic literature ?
I am so sorry that Theophile Gautier has passed away; I should have liked so much to go and see him, and tell him all that I owe him.
Theophile Gautier got out of Seville all that it has to offer.
8), via the formative nineteenth-century views on philosophies of art of critic and historian Hippolyte Taine back to poets Walt Whitman (notably "Proud Music of the Storm" (1869)), Leconte de Lisle (and Faure 's Les Roses d'Isphahan (1884)), Theophile Gautier, and so on.
This is a straight allusion to the pivotal "Notice" to the third edition of Baudelaire's Les Fleurs du Mal (1868), in which Theophile Gautier professes that the author should borrow "a tousles vocabulaires techniques" ("specialist vocabularies from everywhere") and "des couleurs a toutes les palettes" ("color from every palette").
Others discussed include Emile Zola, Theophile Gautier, Marcelle Tinayre, Marie Darrieussecq, Assia Djebar, Catherine Clement, and Leila Marouane.
81) che rappresenta la medesima scena del poema ariostesco, Theophile Gautier scrisse: "Nous doutons [.
The intriguing plotline, based on a short story by the French romanticist Theophile Gautier, tells us about fatal beauty Armide, which even after death causes the hearts to break.
Michel Crouzet, "Le 'Banquet' romantique," Introduction, Mademoiselle de Maupin, by Theophile Gautier (Paris: Gallimard, 1973) 9-10.
He was "the greatest colorist who ever lived," wrote French critic Theophile Gautier, "greater than Titian, Rubens, or Rembrandt" because he created light without violent contrasts and maintained the strength of hue and shadow, which French master Eugene Delacroix (1798-1863) said, "We are always told is impossible" (4).
Art critic Theophile Gautier said the artist gave 'his beloved animals soul, thought, poetry and passion'.
As the French romantic poet Theophile Gautier observed, "In his desire for artistic innovation, Goya found himself confronted by the old Spain.