. Art in France. 903. SISLEY. OF A KI\EK. (The Luxembourg, Paris.) 433 ART IN FRANCE. FH;. 004.—KENOIR. THE (Dunuul-RucI Collection.) originality, disperse talents andoppose them, instead of makingthem converge to a commonideal. But among all these differentforms of art, there is a kind ofsolidarity born of contrast anda division of artistic realism of a Thierry Boutsand the idealism of a Memling,the realism of a Filippo Lippiand the idealism of a Fra An-gelico, were distinguished only byvery subtle gradations. Individualdeviations did not divert Flemishor Florenti
. Art in France. 903. SISLEY. OF A KI\EK. (The Luxembourg, Paris.) 433 ART IN FRANCE. FH;. 004.—KENOIR. THE (Dunuul-RucI Collection.) originality, disperse talents andoppose them, instead of makingthem converge to a commonideal. But among all these differentforms of art, there is a kind ofsolidarity born of contrast anda division of artistic realism of a Thierry Boutsand the idealism of a Memling,the realism of a Filippo Lippiand the idealism of a Fra An-gelico, were distinguished only byvery subtle gradations. Individualdeviations did not divert Flemishor Florentine painting from itsgeneral tendency. But what agulf lies between the brutalnaturalism of a Courbet and theworld of Puvis de Chavannes dreams! They separate with equaldecisiveness to the two sides of the common way. The art of aperiod responds to a constant demand; extreme characteristics can-not develop without exciting antitheses. If there were only onestyle, it could not be that ofDegas, nor even that of Millet,of Puvis or of Rodin. Monetsfairyland made Carrierescolourless nocturnes
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Keywords: ., bookcentury1900, bookdecade1910, bookpublishernew, booksubjectart
