. Art in France. kground (Figs. 880, 881). But the Spaniards of the seventeenth century have been thefavourite masters, as was only to be expected at a period of franknaturalism. Manet, and a little later Carolus-Duran, learned in theSchool of Velasquez the art of bold antitheses and soft tonalities,in which the deep black of a dress, the brilliant carnations of a face,and in that face, the vivid red of the lips and the lustre of the eye,are relieved against a silvery grey background (Fig. 878). Bon-nat is another French-Spaniard; we recognise a disciple of Riberain this robust modeller, who t
. Art in France. kground (Figs. 880, 881). But the Spaniards of the seventeenth century have been thefavourite masters, as was only to be expected at a period of franknaturalism. Manet, and a little later Carolus-Duran, learned in theSchool of Velasquez the art of bold antitheses and soft tonalities,in which the deep black of a dress, the brilliant carnations of a face,and in that face, the vivid red of the lips and the lustre of the eye,are relieved against a silvery grey background (Fig. 878). Bon-nat is another French-Spaniard; we recognise a disciple of Riberain this robust modeller, who throws his figures into strong relief bymeans of violent shadows. His austere solidity is appropriate to hisfavourite models. Modern custom, which has suppressed decorative costume, and re-duced individuals touniformity underidentical garments,has tended to em-phasise facial char-acter. What is leftof the fabrics of cere-mony ; the stars ofthe general, the redribbon of the Legionof Honour, or thegreen palms of the. FIG. 853.—CORMON. CAIN. (The Luxembourg, Paris.) 409 ART IN FRANCE
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Keywords: ., bookcentury1900, bookdecade1910, bookpublishernew, booksubjectart
