. Art in France. THE ROMANTIC PERIOD. SOLVENIR OF ITALY. (The Louvre, Paris.) Storm (Fig. 743). Others,like Cabat, suffered fromtlieir Poussinesque aspira-tions. He sought to givean eternal aspect to chang-ing images, and his treesand clouds make the im-pression of mythologicalscenes. A De la the other hand, painteda tree as it would appearthrough a magnifyingglass, laboriously repro-ducing its foliage and theaccidents of its bark,spelling out, letter by let-ter, the luxuriant language of nature, looking too attentively at theobject to see it, and painting too conscientiously to paint
. Art in France. THE ROMANTIC PERIOD. SOLVENIR OF ITALY. (The Louvre, Paris.) Storm (Fig. 743). Others,like Cabat, suffered fromtlieir Poussinesque aspira-tions. He sought to givean eternal aspect to chang-ing images, and his treesand clouds make the im-pression of mythologicalscenes. A De la the other hand, painteda tree as it would appearthrough a magnifyingglass, laboriously repro-ducing its foliage and theaccidents of its bark,spelling out, letter by let-ter, the luxuriant language of nature, looking too attentively at theobject to see it, and painting too conscientiously to paint well. By the year 1830, however, a young man, Corot (1796-1875),had made great progress in the discovery of Nature and its pictu-resque qualities, because he was not embarrassed by the thousanddifficulties which arrested more than one painter. He did notbelong to the group of painters known as the School of Fontaine-bleau; he outstripped them all, after starting from historical land-scape, in the manner of Aligny, and of his master,
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Keywords: ., bookcentury1900, bookdecade1910, bookpublishernew, booksubjectart
