. Art in France. FIG. 659. DAVID. M. s£RIZIAT. (The Louvre, Paris.) ART IN FRANCE. m;. bbo. DAVID. MME. KECAMIEK. (The Louvre, Paris.) images for the translationof violent sentiments; astrange art, in which menof strong passions attemp-ted to speak the languageof pure reason. Thus classical art oncemore essayed to abandonthe world of the , idealist and archee-ologist though he be, it isvery difficult for an artistto ignore his age, espe-cially at a dramatic periodlike that of the Revolutionand the Empire. Reality becomes so stirring, so full of surprises,that art cannot ignore it; th
. Art in France. FIG. 659. DAVID. M. s£RIZIAT. (The Louvre, Paris.) ART IN FRANCE. m;. bbo. DAVID. MME. KECAMIEK. (The Louvre, Paris.) images for the translationof violent sentiments; astrange art, in which menof strong passions attemp-ted to speak the languageof pure reason. Thus classical art oncemore essayed to abandonthe world of the , idealist and archee-ologist though he be, it isvery difficult for an artistto ignore his age, espe-cially at a dramatic periodlike that of the Revolutionand the Empire. Reality becomes so stirring, so full of surprises,that art cannot ignore it; the whole of France was so deeplymoved, that idealism had to make some concessions to contemporaryhistory. The Conventionnels commissioned David to immortalisesome of the revolutionary scenes; Napoleon was not the man togive up his painters to the conquerors of the antique wcrld. Heprotected the fine arts after the manner of Louis XIV, that theymight add to his glory. In the competitions he instituted, a prizewas offered for the best historical painting; but another was awardedto
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