. Art in France. 822.—COIRBET. THE FIXERAL AT (The Louvre, Paris.) (Pholo. Vignais.) 393 ART IN FRANCE. H(;. 823.—i(HRBi:i. BONJOIK, MONSIELR COLKBtT. (Museum, Montpellier.) when Classicists and Roman-ticists were at one in scorningvulgarity, an artist of bettereducation or of more refinedintelligence would have re-coiled from the difficulty. Itis a constant danger formodern art that it is sub-ject to the taste of a highlycultivated civilisation ; aninsidious politeness lays itsdiscipline upon all well-bredpeople. Courbet was notwell-bred; he talked loudly,in spite of laughter, a
. Art in France. 822.—COIRBET. THE FIXERAL AT (The Louvre, Paris.) (Pholo. Vignais.) 393 ART IN FRANCE. H(;. 823.—i(HRBi:i. BONJOIK, MONSIELR COLKBtT. (Museum, Montpellier.) when Classicists and Roman-ticists were at one in scorningvulgarity, an artist of bettereducation or of more refinedintelligence would have re-coiled from the difficulty. Itis a constant danger formodern art that it is sub-ject to the taste of a highlycultivated civilisation ; aninsidious politeness lays itsdiscipline upon all well-bredpeople. Courbet was notwell-bred; he talked loudly,in spite of laughter, andhis example loosened manytongues. Young painters learned from his pictures that a faithfulrendering of Nature need not entail loss of energy in care foraccuracy, but that such a rendering may rather awaken energy,and lead to a number of expressive discoveries which remain hiddenfrom the idealist. Courbet, however, lacked much of the equipment he requiredfor a perfectly novel presentment of Nature. He did not composea new palette; he borrowed that of the old Bolognese, of Guercino,Caravaggio, and the Spaniard
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