. Art in France. were also imitators; but theysought inspiration outside of classicaland national styles. Grasset oweda good deal to the Middle Ages;others admired the Japanese, theirlight colours, their capricious lines, and the asymmetrical forms of theirart, which, unlike our own, had never been dominated by stone archi-tecture. Others again were attracted by English, Belgian, andAustrian models, by the furniture of all the countries which have adecorative style independent of the French. Finally—and this was the beginning of real and fecund innova-tion—artists like Galle of Nancv drew from
. Art in France. were also imitators; but theysought inspiration outside of classicaland national styles. Grasset oweda good deal to the Middle Ages;others admired the Japanese, theirlight colours, their capricious lines, and the asymmetrical forms of theirart, which, unlike our own, had never been dominated by stone archi-tecture. Others again were attracted by English, Belgian, andAustrian models, by the furniture of all the countries which have adecorative style independent of the French. Finally—and this was the beginning of real and fecund innova-tion—artists like Galle of Nancv drew from the plant world delicatefancies which they applied to pottery, jewels, and furniture. Butthe chasm between aflower and a vase or achair is so great thatvegetable ornaments musteither remain a purelv ex-trinsic adornment, or theobject must undergo adecorative contortion. Inspite of this, the style ofNancy frequently showsa happy boldness in itsadventurous furnituresometimes sacrihces logic. FIG. 8l3.—THE VIADUCT AT CARABIT. 388 NATURALISM
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Keywords: ., bookcentury1900, bookdecade1910, bookpublishernew, booksubjectart
