. Art in France. 880. — HAVMAKIXG. (Tlie , Paris.) 426 NATURALISM. riC. Soo.— BAR OF THE FOLIES-BERcfeRE. for people who are notdraped in togas, withtheir eyes toward heavenand their feet draggingwearily, hke the poets ofearly legend; but thevulgarity of the figures isredeemed by the extraor-dinary beauty of the land-scape and the movingpoetry of the light. HenriMartin has not adoptedPuvis de Chavannes flatcolour; he paints with in-dependent touches whichmake the atmosphere vibrate, without destroying the solid structure ofhis vast compositions; this mosaic

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. Art in France. 880. — HAVMAKIXG. (Tlie , Paris.) 426 NATURALISM. riC. Soo.— BAR OF THE FOLIES-BERcfeRE. for people who are notdraped in togas, withtheir eyes toward heavenand their feet draggingwearily, hke the poets ofearly legend; but thevulgarity of the figures isredeemed by the extraor-dinary beauty of the land-scape and the movingpoetry of the light. HenriMartin has not adoptedPuvis de Chavannes flatcolour; he paints with in-dependent touches whichmake the atmosphere vibrate, without destroying the solid structure ofhis vast compositions; this mosaic he doubtless learnt in his nativeToulouse, that Pointillist city, built of litde bricks, and paved withlitde stones (Figs. 910, 91 I). This Pointillisme is modified andattenuated till it dies away altogether in Le Sidaners quiet land-scapes and Ernest Laurents tender and mysterious portraits. Drawing as practised by French artists since the Renaissance hasbeen an abstract modelling, a kind of design for sculpture. Thereis an Impressionism of line, analogous to that of light and

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Keywords: ., bookcentury1900, bookdecade1910, bookpublishernew, booksubjectart