. Art in France. FK;. 820.—COl RBET. THE WAVE. (The Louvre, Paris.) 395 ART IN FRANCE. tIG. 827.— REGAMEY. CIIRASSIEKS AT AN 1N.\. (The Luxembourg, Paris.) Courbets sense. He didnot copy his peasants frommodels. His images areexact, but they bear theimpress of deep thought;his memory furnished thetypes and gestures he or-ganised. He invented nopictorial novelties, andsought no new erfects;like the Classicists, heonly saw in paintmg alanguage for the transla-tion of ideas and and Rousseau were neighoours at Barbizon, near Fon-tainebleau, on the edge of the forest, and while Rous
. Art in France. FK;. 820.—COl RBET. THE WAVE. (The Louvre, Paris.) 395 ART IN FRANCE. tIG. 827.— REGAMEY. CIIRASSIEKS AT AN 1N.\. (The Luxembourg, Paris.) Courbets sense. He didnot copy his peasants frommodels. His images areexact, but they bear theimpress of deep thought;his memory furnished thetypes and gestures he or-ganised. He invented nopictorial novelties, andsought no new erfects;like the Classicists, heonly saw in paintmg alanguage for the transla-tion of ideas and and Rousseau were neighoours at Barbizon, near Fon-tainebleau, on the edge of the forest, and while Rousseau penetratedinto the depths of the woodland, Millet sought the plain. Theforest, which is left to us from the period of barbarism, is not anatural home of man. He goes thither for refuge or to hide field, on the contrary, is his perpetual conquest and. whethervisible or not, he is present in every part of it. While Rousseaushowed the struggle of the tree for life. Millet recorded mans con-flict with the earth from which he demands his bread. His peas-ants do not si
Size: 1849px × 1352px
Photo credit: © Reading Room 2020 / Alamy / Afripics
License: Licensed
Model Released: No
Keywords: ., bookcentury1900, bookdecade1910, bookpublishernew, booksubjectart
