gouache

gouache /gwɑʃ, guˈɑʃ; Fr. gwaʃ/

–noun, plural gouach·es  /ˈgwɑʃɪz, guˈɑʃɪz; Fr. ˈgwaʃ/
1. a technique of painting with opaque watercolors prepared with gum.
2. an opaque color used in painting a gouache.
3. a work painted using gouache.

Origin:
1880–85; < F < It guazzo place where there is water ≪ L aquātiō, deriv. of aqua water

—Can be confused: gauche, gouache.

Source: Dictionary.com.

While he was still at school … he painted hundreds of gouache pictures and was famous among his school friends for his caricatures of teachers.

Source: Immortality by Milan Kundera.

charterhouse

Char·ter·house /ˈtʃɑrtərˌhaʊs/

–noun, plural -hous·es  /-ˌhaʊzɪz/
1. a Carthusian monastery.
2. the hospital and charitable institution founded in London, in 1611, on the site of a Carthusian monastery.
3. the public school into which this hospital was converted.
4. the modern heir of this school, now located in Surrey.

Origin:
1400–50; late ME < AF chartrouse (taken as charter + house), after Chatrousse, village in Dauphiné near which the order was founded; see Carthusian, whence the first r of the AF word

Source: Dictionary.com.

Agnes recalled a sentence from Stendahl’s novel: “Il se retira à la chartreuse de Parme.” Fabrice left; he retired to the charterhouse of Parma. No charterhouse is mentioned anywhere else in the novel, and yet that single sentence on the last page is so important that Stendahl used it for the title; because the real goal of all Fabrice’s adventures was the charterhouse, a place secluded from people and the world.

Source: Immortality by Milan Kundera.

epigone

ep·i·gone /ˈɛpɪˌgoʊn/

–noun
an undistinguished imitator, follower, or successor of an important writer, painter, etc.

Also, ep·i·gon  /ˈɛpɪˌgɒn/

Origin:
1860–65; < L epigonus < Gk epígonos (one) born afterward, equiv. to epi– epi- + –gonos, akin to gígnesthai to be born

—Related forms
ep·i·gon·ic /ˌɛpɪˈgɒnɪk/, adjective
e·pig·o·nism /ɪˈpɪgəˌnɪzəm, ɛˈpɪg-, ˈɛpəˌgoʊnɪzɪm, -ˌgɒnɪz-/, noun

Source: Dictionary.com.

Epigones are always more radical than their inspirers. For example, I am reading a very thorough French biography of Beethoven published in the 1960s. There the author speaks directly of Goethe’s “cowardice,” his “servility,” his “senile fear of everything new in literature and aesthetics,” etc., etc. Bettina, on the other hand, is endowed with “clairvoyance and prophetic ability, which almost give her the stature of a genius.”

Source: Immortality by Milan Kundera.