. Art in France. ng wigs and elegantcostumes. One hand holds thepalette or the modelling-tool, theother gesticulates to emphasise somelively speech. The faces are amiableand intelligent; they solicit approvalsmilingly. The absent, reflectivecountenances of Philippe de Champaigne and Poussin look moroseamong these loquacious artists. One of them, Antoine Coypel,was even an author; there was an incipient Boileau in him whoversified the poetics of literary painters translatedthe ideas of Virgil and Racineinto pictures rather too well-read society of the davsought in
. Art in France. ng wigs and elegantcostumes. One hand holds thepalette or the modelling-tool, theother gesticulates to emphasise somelively speech. The faces are amiableand intelligent; they solicit approvalsmilingly. The absent, reflectivecountenances of Philippe de Champaigne and Poussin look moroseamong these loquacious artists. One of them, Antoine Coypel,was even an author; there was an incipient Boileau in him whoversified the poetics of literary painters translatedthe ideas of Virgil and Racineinto pictures rather too well-read society of the davsought in history-painting the sameintellectual pleasure they demandedfrom literature. At the end of Louis XIVsreign, there was therefore aSchool of Paris. It was notof the same nature as those ofItaly and Flanders during theMiddle Ages and the Renaissance :it depended less on studio-tradi-tions than on the moral solidarityof society in general. Its charac-teristic style is also more diffi-cult to define; the elements are. FIC. 400. 101 \ FROM THE CROSS, (The Louvre, Paris.) 240
Size: 1396px × 1789px
Photo credit: © Reading Room 2020 / Alamy / Afripics
License: Licensed
Model Released: No
Keywords: ., bookcentury1900, bookdecade1910, bookpublishernew, booksubjectart
