. Art in France. 584. MMK. l.\ I? (Museum of Versailles.) PARISIAN ART UNDER LOUIS XV AND LOUIS XVI. FIG. 585. -J. VERNET. VIEW OF THE BRIDGE ANDCASTLE OF ST. ANGELO, ROME. (The Louvre, Paris.) which are certainlycarefully drawn andingeniously com-posed. But they seemvery empty to us now,though Vernet did hisutmost to make themattractive. This isbecause they lack themost essential ele-ment; they fail tosuggest those differences of light and atmosphere which give localcharacter. In Provence, Saintonge and Brittany, Vernet saw thesame light of the same dull col
. Art in France. 584. MMK. l.\ I? (Museum of Versailles.) PARISIAN ART UNDER LOUIS XV AND LOUIS XVI. FIG. 585. -J. VERNET. VIEW OF THE BRIDGE ANDCASTLE OF ST. ANGELO, ROME. (The Louvre, Paris.) which are certainlycarefully drawn andingeniously com-posed. But they seemvery empty to us now,though Vernet did hisutmost to make themattractive. This isbecause they lack themost essential ele-ment; they fail tosuggest those differences of light and atmosphere which give localcharacter. In Provence, Saintonge and Brittany, Vernet saw thesame light of the same dull colour; he made no distinction betweenthe Mediterranean and the Ocean, the Azure and the EmeraldCoasts. Hubert Roberts colour (1 733-1808) is gayer, because it is morefanciful. He painted a picture as quickly as he wrote a was the virtuoso of ruins. His manner was novel in France,but in Italy Piranesi and Panini delighted in the picturesqueness ofold and crumbling walls, and long before them, Salvator Rosa hadpainted jagged rocks which looked as if they had been hewn out byan explosion. Hubert Robert trifled with the noble
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Keywords: ., bookcentury1900, bookdecade1910, bookpublishernew, booksubjectart
