. Art in France. aroche. Isabey, a less ambitious artist, was content to makethe light flicker on the velvet and satin of his pretty puppets, and toconcentrate the sumptuous colour of the great Venetian and Flemishdecorators in little figures. It was the educated middle classes who read the eloquent pagesof history written by Delaroche; but there was a much largerpublic for the drawings of Rafl^et and Daumier. Below the more pompous works flourished a popu-lar imagery, direct, violent andrapid as life itself. Fixed bylithography, it preserves theemotions and the passions of afeverish time. Wit
. Art in France. aroche. Isabey, a less ambitious artist, was content to makethe light flicker on the velvet and satin of his pretty puppets, and toconcentrate the sumptuous colour of the great Venetian and Flemishdecorators in little figures. It was the educated middle classes who read the eloquent pagesof history written by Delaroche; but there was a much largerpublic for the drawings of Rafl^et and Daumier. Below the more pompous works flourished a popu-lar imagery, direct, violent andrapid as life itself. Fixed bylithography, it preserves theemotions and the passions of afeverish time. Without Charletand Raffet, we should not haverealised how Orleanist Francewas haunted bv memories of theRevolution and the Empire, howpopular the volunteers in woodenshoes of 1 793, the grenadiers ofthe Grande Armee, the con-scripts of 1814, and the Lmperoron his white horse, in his littlecocked hat and his riding coat,continued to be. The theme ofthe grumbling veteran occurs fre-quently in the works of the official. ^^,^.— THE ARMY ENAFRICA. () (Bibliotheque Nationale, Print Room.) 349 AF<T IN FRANCE
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Keywords: ., bookcentury1900, bookdecade1910, bookpublishernew, booksubjectart
