. Art in France. high altar with oneof those explosive glorieswhich project gilded rays onpuffy clouds enlivened by plumpcherub-heads. Le Moyne resisted the ten-dency to some extent, though he occasionally succumbed to the temptation of showing his freedomand facihty. Bouchardon (1698-1 762), on the other hand, repliedto this brilliant and mannered art by a somewhat over-emphatic sim-plicity. It was he who executed the bronze Louis XV for GabrielsPlace ; the group bore a strong resemblance to that of Louis XIVby Girardon; but the king was easier and more elegant, and the horse a more nervous a
. Art in France. high altar with oneof those explosive glorieswhich project gilded rays onpuffy clouds enlivened by plumpcherub-heads. Le Moyne resisted the ten-dency to some extent, though he occasionally succumbed to the temptation of showing his freedomand facihty. Bouchardon (1698-1 762), on the other hand, repliedto this brilliant and mannered art by a somewhat over-emphatic sim-plicity. It was he who executed the bronze Louis XV for GabrielsPlace ; the group bore a strong resemblance to that of Louis XIVby Girardon; but the king was easier and more elegant, and the horse a more nervous and highly-bred beast; Coustou hadabolished the heavy chargersof Le Brun and Van derMeulen. Bouchardon hada superstitious reverence forthe ancients, like his friendand patron, the Comte deCaylus. His careful studiesof their polished marbleshad given him a horror ofthe abrupt and intricatemanner of the Adams, andeven of Coustous sharply-defined modelling. But he(Notre-Dame, Paiis.^ was not alwaysin intellectual 283. FIG 505.—pii;allk. idmbdharcoirt. 11 MAUSH \I ART IN FRANCE
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Keywords: ., bookcentury1900, bookdecade1910, bookpublishernew, booksubjectart
