. Art in France. FIG. 8jS. —RIBOT. SKBASTIAN. (The Luxembourg, Paris.) 396 NATURALISM. FIG. 820.—BONVIX. THE REFELTOKV. (The Luxembourg, Paris.) work of the morrow. This earth he draws and paints hke a face with character, and, in fact, to the man who is always bending over her, does she not show a face, either good or bad? The dwelhng is never far off, a poor sheher of stones and thatch. where the woman, when she is not in the fields, passes the slow days spinning wool, washing Hnen, feeding the little ones, absorbed in some simple task, like Chardins draughtsman of gestur
. Art in France. FIG. 8jS. —RIBOT. SKBASTIAN. (The Luxembourg, Paris.) 396 NATURALISM. FIG. 820.—BONVIX. THE REFELTOKV. (The Luxembourg, Paris.) work of the morrow. This earth he draws and paints hke a face with character, and, in fact, to the man who is always bending over her, does she not show a face, either good or bad? The dwelhng is never far off, a poor sheher of stones and thatch. where the woman, when she is not in the fields, passes the slow days spinning wool, washing Hnen, feeding the little ones, absorbed in some simple task, like Chardins draughtsman of gestures. Millet saw in them a definite utility, a means to an end; he shows us the whole body tense with effort. And this painter of rugged contours, who saw in the husbandman the machine of necessary labour, admired Michelangelo, the supple creator of athletic gestures. His peasant in coarse wooden shoes presses heavily upon the earth; his body is bent with long stooping over the soil, and he stands erect stiffly, as if this attitude had ceased to be a natural one to him; his silhouette, is
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Keywords: ., bookcentury1900, bookdecade1910, bookpublishernew, booksubjectart
