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French Art: Classic Painting - Character And Origin
(Topic: Art, Art History, French Art, French Art History) MORE than that of any other modern people French art is a national expression. It epitomizes very definitely the national æsthetic judgment and feeling, and if its manifestations are even more varied than are elsewhere to be met with, they share a certain character that is very salient. Of almost any French picture or statue of any modern epoch one's first thought is that it is French.
French Art: Classic Painting - Claude And Poussin
(Topic: Art, Art History, French Art, French Art History) FURTHERMORE, the qualities and defects of French painting-the predominance in it of national over individual force and distinction, its turn for style, the kind of ideas that inspire its substance, its classic spirit in fine-are explained hardly less by its historic origin than by the character of the French genius itself. French painting really began in connoisseurship, one may say.
French Art: Classic Painting - Lebrun And Lesueur
(Topic: Art, Art History, French Art, French Art History) IT is a sure mark of narrowness and defective powers of perception to fail to discover the point of view even of what one disesteems. We talk of Poussin, of Louis Quatorze art-as of its revival under David and its continuance in Ingres-of, in general, modern classic art as if it were an art of convention merely ; whereas, conventional as it is, its conventionality is-or was, certainly...
French Art: Classic Painting - Louis Quinze
(Topic: Art, Art History, French Art, French Art History) FANCIFUL as the Louis Quinze art seems, by contrast with that of Louis Quatorze, it, too, is essentially classic. It is free enough—no one, I think, would deny that—but it is very far from individual in any important sense. It has, to be sure, more personal feeling than that of Lesueur or Lebrun.
French Art: Classic Painting - Greuze And Chardin
(Topic: Art, Art History, French Art, French Art History) WITH Greuze and Chardin we are supposed to get into so different a sphere of thought and feeling that the change has been called a 'return to nature'-that 'return to nature' of which we hear so much in histories of literature as well as of the plastic arts. The notion is not quite sound.
French Art: Classic Painting - David, Ingres, And Prudhon
(Topic: Art, Art History, French Art, French Art History) IT is the fashion to think of David as the painter of the Revolution and the Empire. Really he is Louis Seize. Historical critics say that he had no fewer than four styles, but apart from obvious labels they would be puzzled to tell to which of these styles any individual picture of his belongs.
French Art: Romantic Painting - Romanticism
(Topic: Art, Art History, French Art, French Art History) WHEN we come to Scott after Fielding, says Mr. Stevenson, 'we become suddenly conscious of the background.' The remark contains an admirable characterization of romanticism ; as distinguished from classicism, romanticism is consciousness of the background. With Gros, Géricault, Paul Huet, Michel, Delacroix, French painting ceased to be abstract and impersonal.
French Art: Romantic Painting - Gericault And Delacroix
(Topic: Art, Art History, French Art, French Art History) GeRICAULT and Delacroix are the great names in-scribed at the head of the romantic roll. They will remain there. And the distinction is theirs not as awarded by the historical estimate ; it is personal. In the case of Géricault perhaps one thinks a little of 'the man and the moment' theory. He was, it is true, the first romantic painter-at any rate the first notable romantic painter.
French Art: Romantic Painting - The Fontainebleau Group
(Topic: Art, Art History, French Art, French Art History) DELACROIX'S color deepens into an almost musical intensity occasionally in Decamps, whose oriental landscapes and figures, far less important intellectually, far less magistrales in conception, have at times, one may say perhaps without being too fanciful, a truly symphonic quality that renders them unique. 'The Suicide' is like a chord on a violin.
French Art: Romantic Painting - The Academic Painters
(Topic: Art, Art History, French Art, French Art History) But quite aside from the group of poetic painters which stamped its impress so deeply upon the romantic movement at the outset, that to this day it is Delacroix and Millet, Decamps and Corot whom we think of when we think of the movement itself, the classic tradition was preserved all through the period of greatest stress and least conformity by painters of great distinction...
French Art: Romantic Painting - Couture, Puvis De Chavannes, And Regnault
(Topic: Art, Art History, French Art, French Art History) As one has, however, so often occasion to note in France-where in every field of intellectual effort the influence of schools and groups and movements is so great that almost every individuality, no mat-ter how strenuous, falls naturally and intimately into association with some one of them-there is every now and then an exception that escapes these categories and stands quite by itself.
French Art: Realistic Painting - Realism
(Topic: Art, Art History, French Art, French Art History) To an intelligence fully and acutely alive, its own time must, I think, be more interesting than any other. The sentimental, the' scholastic, the speculative temperament may look before or after with longing or regret ; but that sanity of mind which is practical and productive must find its most agree-able sensations in the data to which it is intimately and inexorably related.
French Art: Realistic Painting - Courbet And Bastien-lepage
(Topic: Art, Art History, French Art, French Art History) IT is at least an approximation to ascribe the primacy of realism to Courbet, though ascriptions of the kind are at best approximations. Not only was he the first, or among the first, to feel the interest and importance of the actual world as it is and for what it is rather than for what it suggests, but his feeling in this direction is intenser than that of any-one else.
French Art: Realistic Painting - The Landscape Painters, Fromentin And Guillaumet
(Topic: Art, Art History, French Art, French Art History) OF the realistic landscape painters, the strict impressionists apart, none is more eminent than M. Cazin, whose work is full of interest, and if at times it leaves one a little cold, this is perhaps an affair of the beholder's temperament rather than of M. Cazin's. He is a thoroughly original painter, and, what is more at the present day, an imaginative one.
French Art: Realistic Painting - Historical And Portrait Painters
(Topic: Art, Art History, French Art, French Art History) So thoroughly has the spirit of realism fastened upon the artistic effort of the present that temperaments least inclined toward interest in the actual feel its influences, and show the effects of these. The most recalcitrant illustrate this technically, however rigorously they may preserve their point of view. They paint at least more circumspectly, however they may think and feel.
French Art: Realistic Painting
(Topic: Art, Art History, French Art, French Art History) ONE element of modernity is a certain order of eclecticism. It is not the eclecticism of the Bolognese painters, for example, illustrating the really hopeless attempt to combine the supposed and superficial excellences, always dissociated from the essence, of different points of view. It is a free choice of attitude, rather, due to the release of the individual from the thraldom of conformity that...
French Art: Realistic Painting - Manet And Monet
(Topic: Art, Art History, French Art, French Art History) But to go back a little and consider the puissant individualities, the great men who have really given its direction to and, as it were, set the pace of, the realistic movement, and for whom, in order more conveniently to consider impressionism pure and simple by itself, I have ventured to disturb the chronological sequence of evolution in French painting...
French Art: Realistic Painting - Impressionism, Degas
(Topic: Art, Art History, French Art, French Art History) IN fine, the impressionist has his own conventions ; no school can escape them, from the very nature of the case and the definition of the term. The conventions of the impressionists, indeed, are particularly salient. Can anyone doubt it who sees an exhibition of their works?
French Art: Realistic Painting - The Outlook
(Topic: Art, Art History, French Art, French Art History) WHATEVER the painting of the future is to be, it is certain not to be the painting of Monet. For the present, no doubt, Monet is the last word in painting. To belittle him is not only whimsical, but ridiculous. He has plainly worked a revolution in his art. He has taken it out of the vicious circle of conformity to, departure from, and return to abstractions and the so-called ideal.
French Art: Classic Sculpture - Claux Sluters
(Topic: Art, Art History, French Art, French Art History) FRENCH sculpture naturally follows very much the same course as French painting. Its beginnings, however, are Gothic, and the Renaissance emancipated rather than created it. Italy, over which the Gothic wave passed with less disturbing effect than anywhere else, and where the Pisans were doing pure sculpture when everywhere farther north sculpture was mainly decorative and rigidly architectural...
French Art: Classic Sculpture - Jean Goujon
(Topic: Art, Art History, French Art, French Art History) HE remains, too, one of the very finest, even in a competition constantly growing more exacting since his day. He had a very particular talent, and it was exhibited in manifold ways. He is as fine in relief as in the round. His decorative quality is as eminent as his purely sculptural side. Compared with his Italian contemporaries he is at once full of feeling and severe.
French Art: Classic Sculpture - Style
(Topic: Art, Art History, French Art, French Art History) WHAT do we mean by style ? Something, at all events, very different from manner, in spite of Mr. Hamerton's insistence upon the contrary. Is the quality in virtue of which-as Mr. Dobson paraphrases Gautier 'The bust outlives the throne, The coin Tiberius' the specific personality of the artist who carved the bust or chiselled the coin that have thus out-lived all personality connected with them ?
French Art: Classic Sculpture - Clodion, Pradier And Etex
(Topic: Art, Art History, French Art, French Art History) AFTER Goujon, Clodion is the great name in French sculpture, until we come to Houdon, who may almost be assigned to the nineteenth century. There were throughout the eighteenth century honorable artists, sculptors of distinction beyond con-test. But sculpture is such an abstract art itself that the sculpture which partook of the artificiality of the eighteenth century has less interest for us...
French Art: Classic Sculpture - Houdon, David D' Angers, And Rude
(Topic: Art, Art History, French Art, French Art History) HAVING in each case more or less relation with, but really wholly outside of and superior to all 'schools' whatever-except the school of nature, which permits as much freedom as it exacts fidelity - is the succession of the greatest of French sculptors since the Renaissance and down to the present day.
French Art: Classic Sculpture - Careaux And Barye
(Topic: Art, Art History, French Art, French Art History) CARPEAUX perhaps never did anything that quite equals the masterpiece of his master Rude. But the essential quality of the 'Chant du Départ' he assimilated so absolutely and so naturally that he made it in a way his own. He carried it farther, indeed. If he never rose to the grandeur of this superb group, and he certainly did not, he nevertheless showed in every one of his works that he was...
French Art: Academic Sculpture - Its Italianate Character
(Topic: Art, Art History, French Art, French Art History) FROM Barye to the Institute is a long way. Nothing could be more interhostile than his sculpture and that of the professors at the École des Beaux-Arts. And in considering the French sculpture of the present day we may say that, aside from the great names already mentioned-Houdon, David d'Angers, Rude, Carpeaux, and Barye-and apart from the new movement represented by Rodin and Dalou...
French Art: Academic Sculpture - Chapu
(Topic: Art, Art History, French Art, French Art History) CHAPU, who died a year or two ago, is perhaps the only eminent sculptor of the time whose inspiration is clearly the antique, and when I add that his work appears to me for this reason none the less original, it will be immediately perceived that I share imperfectly the French objection to the antique. Indeed, nowadays to have the antique inspiration is to be original ex vi termini; nothing is far...
French Art: Academic Sculpture - Dubois
(Topic: Art, Art History, French Art, French Art History) M. PAUL DUBois, for example, in the characteristics just alluded to, presents the greatest possible contrast to Chapu ; but he will never, we may be sure, give us a work that could be called insignificant. His work will always express himself, and his is a personality of very positive idiosyncrasy. M. Dubois, indeed, is probably the strongest of the Academic group of French sculptors of the day.
French Art: Academic Sculpture - Saint Marceaux And Mercie
(Topic: Art, Art History, French Art, French Art History) Ir is agreeable in many ways to turn from the rounded and complete impeccability of M. Dubois to the fancy of M. Saint-Marceaux. More than any of his rivals, M. Saint-Marceaux possesses the charm of unexpectedness. He is not perhaps to be called an original genius, and his work will probably leave French sculpture very nearly where it found it.
French Art: Academic Sculpture - Tyranny Of Style
(Topic: Art, Art History, French Art, French Art History) WELL, then, speaking thus absolutely and positively, the cardinal defect of the Institute sculpture-and the refined and distinguished work of M. Mercié better perhaps than almost any other assists us to see this-is its over - carefulness for style. This is indeed the explanation of what I mentioned at the outset as the chief characteristic of this sculpture, the academic inelasticity, namely...
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