. Art in France. , and the frank, robustcountenance of Bossuet (Figs. 5 1 7-5 19, 321). LargiUiere shows more tenderness, in spite of the vigour of hisart; he loves to paint the delicate gradations of flesh, of finestuffs, and of the atmosphere, the bluish reflections of a veryfair skin, the changing hghts in a satin drapery, or the gold ofautumn dying away into mist. Sometimes even, a certain in-sipidity seems to herald Nattiers fatigued palette, for the eighteenthcentury was about to dilute the strong colours of Antwerp for itsfaindy tinted decoration. His brush has not the mordant quality,w
. Art in France. , and the frank, robustcountenance of Bossuet (Figs. 5 1 7-5 19, 321). LargiUiere shows more tenderness, in spite of the vigour of hisart; he loves to paint the delicate gradations of flesh, of finestuffs, and of the atmosphere, the bluish reflections of a veryfair skin, the changing hghts in a satin drapery, or the gold ofautumn dying away into mist. Sometimes even, a certain in-sipidity seems to herald Nattiers fatigued palette, for the eighteenthcentury was about to dilute the strong colours of Antwerp for itsfaindy tinted decoration. His brush has not the mordant quality,which, in Rigauds works, sometimes give as much firmness to the curlsof a wig as to tne con-volutions of brass or gildedwood ; it touched roundedforms more languidly;hence LargiUiere was amore successful painter ofwomen than Rigaud ; hegives a certain blue toneto his lights, and modifieshis red reflections to pro-duce an aristocratic pallor,so that even his echevins,and his magistrates intheir robes show a sort of. -WATTEAl. IN AN (The Lou\Te, Paris.) 251 ART IN FRANCE
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Keywords: ., bookcentury1900, bookdecade1910, bookpublishernew, booksubjectart
