"Gautier was a leading writer of the Romantic movement and forms a bridge between the supernatural fiction of Goethe and E.T.A. Hoffmann and the pivotal pulp magazine
Weird Tales."-Cynthia Ward
"Theophile Gautier was one of the most important writers of fantastic tales in France during the Romantic period."-
The Modern Language Journal "It is in Theophile Gautier that we first seem to find an authentic French sense of the unreal world, and here there appears a spectral mystery which, though not continuously
used, is recognizable at once as something alike genuine and profound." -H. P. Lovecraft
Gautier writes ..".stories of remarkable artistry, rich in irony and nostalgia, in which the subtle play of passion with terror is expressed in a precise, elegant prose style." --
The Penguin Encyclopedia of Horror & the Supernatural
Théophile Gautier (1811-1872), whose father was a minor government functionary, was born in southwestern France, but when he was three his family moved to Paris, where he spent the rest of his life. The young Gautier wanted to make his name as a painter until, at eighteen, he met Victor Hugo and decided to become a writer. Instead; within a year he had published his first collection of poetry. Gautier also formed an early and deep attachment to the brilliant but troubled poet Gérard de Nerval, and the two of them became central to the the Jeune-France movement, celebrated for its Bohemian dandyism and aesthetic provocations. (Gautier became especially notorious for the red vest he wore to the opening of Hugo's play Hernani.) In 1836 Gautier published the novel Mademoiselle de Maupin, a succès de scandale that is the source of the phrase "art for art's sake," and later that year, he was hired as a critic for the daily paper La Presse, in which capacity he was to champion the work of Baudelaire, Berlioz, Delacroix, Heine and the Goncourt brothers. Gautier himself continued to publish poetry, short stories, literary criticism, plays, and ballets, including the scenario for the ballet Giselle and the unfinished History of Romanticism, which he was working on at the time of his death.