ABSTRACT
The new art of the garden, in order to achieve its own 'pure' form, extrudes all elements pertaining to architecture and sculpture, all anthropomorphic elements; it extrudes them both from its plantings and from its treatment of landscape, the main material of its compositions. Architecture, too, shows a tendency to extrude all anthropomorphic elements, all elements pertaining to sculpture and painting, which in the Baroque were intimately fused with each other. Sculpture extrudes from itself all that pertains to the pictorial element and timidly withdraws into its own boundaries. A real resistance to the isolation of the arts was evident in the longing of the Romantic Movement for the composite work of art. As a logical consequence of the extrusion of the three-dimensional, the shadow art of the silhouette, invented by Etienne de Silhouette, this became fashionable about 1760.
