. Art in France. FIG. 501.—MME. VIGEE-LEBRVN. AND HER DAUGHTER. (The Lou\Te, Paris.) ART IN FRANCE. FIG. 592.— (The Louvre, Paris.) XV. Moreover, the sculptor, likethe history-painter, works for the most partwithout any definite object. His immedi-ate aim is to exhibit his work to the publicat the next Salon. The majority of thestatues which are thus produced each yearare not the result of any collective want;they appeal to the generosity of collectorsand of the State. Being thus-less susceptible than paintingto the influences of fashionable life, sculp
. Art in France. FIG. 501.—MME. VIGEE-LEBRVN. AND HER DAUGHTER. (The Lou\Te, Paris.) ART IN FRANCE. FIG. 592.— (The Louvre, Paris.) XV. Moreover, the sculptor, likethe history-painter, works for the most partwithout any definite object. His immedi-ate aim is to exhibit his work to the publicat the next Salon. The majority of thestatues which are thus produced each yearare not the result of any collective want;they appeal to the generosity of collectorsand of the State. Being thus-less susceptible than paintingto the influences of fashionable life, sculp-ture has retained a larger measure of re-spect for academic traditions. There is amore obvious continuity of style in its pro-ductions, and among sculptors we do notfind that diversity which at this period be-gan to make a picture exhibition a veryvaried entertainment. The statuaries of theeighteenth century, in spite of differencesof temperament or method, had a common ideal of beauty. Theirtype is very similar to that which was evolved in decorative paintingfrom Le Brun to La Fosse, and later from Le Moyne
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Keywords: ., bookcentury1900, bookdecade1910, bookpublishernew, booksubjectart
