. Catalogue of masterpieces by "the men of 1830" : forming the private collection of Mr. H. S. Henry, Philadelphia. , but pictures in themselves. He divests his figures of all that is merely accidental, and in his siin-|)lificati()n reaches l)y the smallest possible means the fullest expression of the salient truth; .•ind the decisive lines which cluiraclcrizc a movement arc so rhythnnc aiul harmonious that he attains to nmchahilude of style. Even as a child he had received a good education from an uncle who was an ecclesiastic, and hadlearned enough Latin to read the Georgics of Virgil in the
. Catalogue of masterpieces by "the men of 1830" : forming the private collection of Mr. H. S. Henry, Philadelphia. , but pictures in themselves. He divests his figures of all that is merely accidental, and in his siin-|)lificati()n reaches l)y the smallest possible means the fullest expression of the salient truth; .•ind the decisive lines which cluiraclcrizc a movement arc so rhythnnc aiul harmonious that he attains to nmchahilude of style. Even as a child he had received a good education from an uncle who was an ecclesiastic, and hadlearned enough Latin to read the Georgics of Virgil in the original text. He knew them almost by heart,and cited them continually in his letters. Shakespeare filled him with admiration, and Theocritus andBurns were his favorite poets. He was a constant reader, and more cultivated than most painters; aphilosopher and a scholar. In January, 1875, he was stricken with fever, and died at the age of sixty. His grave is nearRousseaus at Chailly, and the sculptor Chajju has wrought their two heads side by side in bronze on thestone at Barbizon. THEODORE ROUSSEAU 1812-1867. The tale of the Fontainebleau-Barbizon painters has been more than twicetold, and like all tales it grows with each new telling. Originally it was a simpleand a most natural story. There had been a long period of classic art, started byDavid, which perpetuated nothing but the traditions of Greece and Rome. It wasj^^^fei/ all form, all line, all academic skill; the breath of passion, of individuality, of life was not in it. In the 1820s there came a revolt against this stereotyped productof the Institute. The revolt took the form of Romanticism, and Delacroix was itsnominal prophet. A new generation was growing up while this Classic-Romantic jangle was in the air. These young men had heard the arguments pro and con in the studios, and had seen the extravagances of both arts in the exhibitions. AVhat could be more natural than their recognition that both of them were extre
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