Theophile Gautier (August 31, 1811 - October 23, 1872)
Born: 31st August, 1811
Died: 23rd October, 1872
Nationality: French
Profession/Occupation: Poet
Region: Tarbes, France, Neuilly-sur-Seine
Notable works: "La Chanson de Roland", "Mademoiselle de Maupin", "Emaux et camees"

Theophile Gautier Facts


Theophile Gautier, byname le bon Theo, (born August 31, 1811, Tarbes, France--died October 23, 1872, Neuilly-sur-Seine), poet, novelist, critic, and journalist whose influence was strongly felt in the period of changing sensibilities in French literature--from the early Romantic period to the aestheticism and naturalism of the end of the 19th century.

Gautier lived most of his life in Paris. At the College de Charlemagne he met Gerard de Nerval and began a lasting friendship. He studied painting but soon decided that his true vocation was poetry. Sympathetic to the Romantic movement, he took part in the cultural battle that ensued when Victor Hugo's play Hernani was first performed in Paris in 1830. He humorously recalled this period in Histoire du romantisme (1874; "History of Romanticism") and in Portraits contemporains (1874; "Contemporary Portraits"), in which he gave an excellent description of his friend Honore de Balzac. Gautier satirized his own extravagances, as well as those of other Romanticists, in Les Jeunes-France (1833; "Young France"). Les Grotesques (1834-36) is about more obscure earlier writers whose individualism anticipated that of the Romantics.

Gautier's first poems appeared in 1830. Albertus, a long narrative about a young painter who falls into the hands of a sorcerer, was published in 1832. At this time he turned from the doctrines of Romanticism and became an advocate of art for art's sake. The preface to Albertus and the novel Mademoiselle de Maupin (1835) express his views, which caused a considerable stir in literary circles by their disregard of conventional morality and insistence on the sovereignty of the beautiful. His pessimism and fear of death were expressed in the narrative poem La Comedie de la mort (1838; "The Comedy of Death").

In 1840 Gautier visited Spain. The colour of the land and people inspired some of his best poetry, in Espana (1845), and prose, in Voyage en Espagne (1845). After that trip he found traveling to be a welcome escape from the constant pressures of his journalistic work, which he pursued to support himself, two mistresses, and his three children, as well as his two sisters. From 1836 to 1855 he was a weekly contributor to La Presse and Le Moniteur Universel; in 1851, editor of Revue de Paris; and in 1856, editor of L'Artiste. Besides this work he contributed to many other periodicals and papers. Gautier often bemoaned the conditions of his existence; he felt that journalism was draining off the creative energy that should have been reserved for poetry.

Traveling, especially in Greece, strengthened his theory of art and his admiration of Classical forms. He felt that art should be impersonal, free from the obligation of teaching moral lessons, and that the aim of the artist is to concentrate on achieving perfection of form. He developed a technique in poetry that he called transposition d'art ("transposing art"), recording his exact impressions when experiencing a painting or other work of art. These poems, published in Emaux et camees (1852; "Enamels and Cameos"), are among his finest, and the book was a point of departure for the writers Theodore de Banville and Leconte de Lisle. Charles Baudelaire paid tribute to Gautier in the dedication of his verse collection Les Fleurs du mal.

Gautier's poetic and fantastic imagination is seen to advantage in his short fiction--e.g., the vampire tale La Morte amoureuse (1836; "The Dead Lover") and the evocations of ancient Pompeii in Arria Marcella (1852). His literary output was prodigious, but his art and dramatic criticism alone--partly reprinted in Les Beaux-Arts en Europe (1855) and in Histoire de l'art dramatique en France depuis vingt-cinq ans, 6 vol. (1858-59; "History of Drama in France for Twenty-five Years")--would ensure his reputation. As a ballet critic, he remains unrivaled. He also wrote plays and, in collaboration with Vernoy de Saint-Georges, the popular ballet Giselle.

Gautier was held in esteem by many of his contemporaries who were also prominent literary figures: Gustave Flaubert, Charles Augustin Sainte-Beuve, the Goncourt brothers, Banville, and Baudelaire. In his last years he became the friend of the French princess Mathilde, who gave him a sinecure post as a librarian to ease his financial strain.

Top 19 Theophile Gautier quotes

Eyes so transparent that through them the soul is seen.
To love is to admire with the heart; to admire is to love with the mind.
Love is
To love
If you are worthy of its affection, a cat will be your friend but never your slave.
The cat is a dilettante in fur.
It is difficult to obtain the friendship of a cat. It is a philosophical animal... one that does not place its affections thoughtlessly.
Chance is the pseudonym of God when he did not want to sign.
What I write is not for little girls.
I write
Little girls
I am a man for whom the outside world exists.
I am
Outside world
Yes, the work comes out more beautiful from a material that resists the process, verse, marble, onyx, or enamel.
A cat will be your friend, but never your slave.
Sooner barbarity than boredom.
I was born to travel and write verse.
I was born
Critical lice are like body lice, which desert corpses to seek the living.
Books follow morals, and not morals books.
Any man who does not have his inner world to translate is not an artist.
Inner world
The word poet literally means maker: anything which is not well made doesn't exist.
Art is beauty, the perpetual invention of detail, the choice of words, the exquisite care of execution.
I am one of those for whom superfluity is a necessity.
I am
You do not become a critic until it has been completely established to your own satisfaction that you cannot be a poet.

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