. Art in France. ■ APOTHEOSIS OF HOMER. (The Louvre, Paris.) THE ROMANTIC PERIOD. HG. 712.—INOKLS. ilME. Di, SLNOtsNLS. (Museum of Nantes.){Photo. Neurdein.) the East. But his temperamenthad none of the fiery passion ofDelacroix. Sometimes he seemsto have been thinking of Rem-brandt, and sometimes of Char-din. But he suppressed emotion,thought, history, and even nature :or rather, he took from the materialworld only certain small aspects,so fragmentary and so individualthat they seem to be merely pre-texts for his technical essays. Hegets an equal amount of pictu-resque effect from a s
. Art in France. ■ APOTHEOSIS OF HOMER. (The Louvre, Paris.) THE ROMANTIC PERIOD. HG. 712.—INOKLS. ilME. Di, SLNOtsNLS. (Museum of Nantes.){Photo. Neurdein.) the East. But his temperamenthad none of the fiery passion ofDelacroix. Sometimes he seemsto have been thinking of Rem-brandt, and sometimes of Char-din. But he suppressed emotion,thought, history, and even nature :or rather, he took from the materialworld only certain small aspects,so fragmentary and so individualthat they seem to be merely pre-texts for his technical essays. Hegets an equal amount of pictu-resque effect from a smoky garretor a tragic landscape, from apiece of wall with a few beggarsrags, and from jagged, bloodshotclouds lowering over burningrocks (Figs. 704^706). Marilhat also loved the torrid East; hebuilt up solid landscapes with shattered rocks and majestic he died young, before he had learned to illuminate his solidcolour. At that same Salon of 1824, where the younger paintersflocked to admire the Massacre of Scio, a pupil of Davids, Jean-Baptiste Dominique Ingres (1789-1867)
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