. Art in France. FIG. 420.—LE PAUL PRE.^CHING AT EPHESUS. (The Louvre, Paris.) 205 ART IN FRANCE. r U. 43D. —SEBASTIEN BOL (Museum of Versailles.) governed his execution. Even whrn the painter is most inspired, he never seems to be carried away by his ardour; he has none of those bravura passages so frequent among the Itahans and the Flemings, v^ho are intoxicated by a fine effect, and give themselves up to the delight of rendering it skilfully. Even his vocabulary has an abstract charac-ter. He drew a great deal from antiques and from Nature, but did not paint with t
. Art in France. FIG. 420.—LE PAUL PRE.^CHING AT EPHESUS. (The Louvre, Paris.) 205 ART IN FRANCE. r U. 43D. —SEBASTIEN BOL (Museum of Versailles.) governed his execution. Even whrn the painter is most inspired, he never seems to be carried away by his ardour; he has none of those bravura passages so frequent among the Itahans and the Flemings, v^ho are intoxicated by a fine effect, and give themselves up to the delight of rendering it skilfully. Even his vocabulary has an abstract charac-ter. He drew a great deal from antiques and from Nature, but did not paint with the model before his eyes. Nothing in his works ever makes us feel the contact of reality ; no accent reveals the joy of a painter in the contemplation of the beautiful. His study of antique statues has given him a taste for clearly-defined forms, simple planes, and rhythmic attitudes; his nymphs and satyrshave an elegance of form and attitude which implies a long plastic education; thev were fashioned bv antique and Renaissance art. His drawing is marked bv a virile grace; the forms are a little hard a
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Keywords: ., bookcentury1900, bookdecade1910, bookpublishernew, booksubjectart
