. Art in France. s sometimespresent the heroes of an-tiquity in a new and Romulus could no longer show themselves in the Forumor at Thermopylae without exposing their marble nudity to the fan-tasies of pleinairisme (open-air effects). Tattegrain chooses expressive landscapes as a setting for hisgaily coloured scenes from the Middle Ages, and no painter has beenmore successful in vivifying history than Jean Paul Laurens; in hiscase, documentation has not stifled imagination, and realism hasnever become accurate and erudite platitude; he is one of thoserare painters whose persona
. Art in France. s sometimespresent the heroes of an-tiquity in a new and Romulus could no longer show themselves in the Forumor at Thermopylae without exposing their marble nudity to the fan-tasies of pleinairisme (open-air effects). Tattegrain chooses expressive landscapes as a setting for hisgaily coloured scenes from the Middle Ages, and no painter has beenmore successful in vivifying history than Jean Paul Laurens; in hiscase, documentation has not stifled imagination, and realism hasnever become accurate and erudite platitude; he is one of thoserare painters whose personages are neither actors on a stage noramateurs in fancy dress. His imagination has been nourished onMichelets sombre Middle Ages, and his vigorous brush reconstructsmediaeval savagery, Merovingian crimes, the cold cruelty of theInquisition, ecclesiastical vendettas, the devastating fury of revolu-tion and battle. A virile poetry breathes from his works, and in-forms even his pictures of modern life (Fig. 852), 405. FIG. 845.—TISSOT. THE MAGI. (Collection of M. de Brunhofif.) ART IN FRANCE
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Keywords: ., bookcentury1900, bookdecade1910, bookpublishernew, booksubjectart
