. Art in France. FIG. 404. -PHILIPPE DE CHAMPAIGNE. PORTRAIT OF MOTHER CATHERINE. AGNES ARNAULT AND OF SISTER CATHERINE. SAINTE SLVANNE. (The Louvre, Paris.) 193 o ART IN FRANCE. He. 405. OF PEIRESC. () (Bihliotlicquc Xationalc, Print Room.) summoned Rubens. There could, of course, have been no question of keeping him permanently; but he left a considerable sum ot work behind him, and also several of his pupils, such as Justus of Egmont and Van Mol. The painter of the Queen-Regent at a later date was the Brussels master, Philippe de Champaigne (160-216/4).
. Art in France. FIG. 404. -PHILIPPE DE CHAMPAIGNE. PORTRAIT OF MOTHER CATHERINE. AGNES ARNAULT AND OF SISTER CATHERINE. SAINTE SLVANNE. (The Louvre, Paris.) 193 o ART IN FRANCE. He. 405. OF PEIRESC. () (Bihliotlicquc Xationalc, Print Room.) summoned Rubens. There could, of course, have been no question of keeping him permanently; but he left a considerable sum ot work behind him, and also several of his pupils, such as Justus of Egmont and Van Mol. The painter of the Queen-Regent at a later date was the Brussels master, Philippe de Champaigne (160-216/4). He was asso-ciated with the Jansenist party, and his works reflect their gravity of thought and the austere piety of their lives. The robust method he had acquired in his native school was not used by him to play with the beauty of appear-ances, but to elevate painting to the nobility of Christian and philosophical meditation. His Dead Christs and his portraits combine a profound sense of reality with an intensity of moral life veryunusual in Flemish art. Cham-paigne and Poussin had so manysimilar preoccupations, that wemust suppose the Fleming often tohave waived his nat
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Keywords: ., bookcentury1900, bookdecade1910, bookpublishernew, booksubjectart
