. Art in France. FIG. 671. THE TRIUMPH OF MARAT. (Museum of Lille.) 319 ART IN FRANCE. FIG. O72. —PKl!D HON. PORTRAIT OFMADAME JARRE. 676 and 679). The mysteryof the park where Josephinereposes is full of dreamy sad-ness, and the light touchestenderly the easy lines of herrelaxed figure. Prudhon at-tempted not only to outline, butin his colour there is light andthe warm softness of flesh. Inthe midst of wooden paintershis work glows with the grace-ful sensuousness of Dorat orGentil Bernard and at timeshas the gende sadness of ameditation of Lamartine. Gros (1771-1835) had alsotoo str
. Art in France. FIG. 671. THE TRIUMPH OF MARAT. (Museum of Lille.) 319 ART IN FRANCE. FIG. O72. —PKl!D HON. PORTRAIT OFMADAME JARRE. 676 and 679). The mysteryof the park where Josephinereposes is full of dreamy sad-ness, and the light touchestenderly the easy lines of herrelaxed figure. Prudhon at-tempted not only to outline, butin his colour there is light andthe warm softness of flesh. Inthe midst of wooden paintershis work glows with the grace-ful sensuousness of Dorat orGentil Bernard and at timeshas the gende sadness of ameditation of Lamartine. Gros (1771-1835) had alsotoo strong a temperament tosubmit altogether to Davids impersonal method. Among the many correct draughtsmen who were busy modelling impeccable nudities, he worked with spirit, and retained the fire of improvisation in an immense picture. His apprenticeship was only just over, when he shared the life of Bonapartes soldiers during the Italian campaign of 1796; he handled arms and equipments, became a practised horseman, and saw actual war. The other Davidians, who were military painters by acciden
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Keywords: ., bookcentury1900, bookdecade1910, bookpublishernew, booksubjectart
