. Art in France. riG. SlO.—SACRE-CCEIR,MONTMARTRE, PARIS. (Photo. Neurdein.) ART IN FRANCE. Fic. 8iI.—birds eye view of thk SEINE IN PARIS. (Photo, from Paris vu en ballon, byA. Schodcher and O. Dccugis.) of collectors into well-to-do societyas a whole. In the closing years of the nine-teenth century, Frenchmen began torecognise that in their admirationfor the furniture of Louis XV andLouis XVI, they had forgotten tomake any of their own. 1 hey be-gan to look about for an originalmethod of decoration suitable tomodern life. It was an impossibleenterprise, for a decorative system isnot a sponta
. Art in France. riG. SlO.—SACRE-CCEIR,MONTMARTRE, PARIS. (Photo. Neurdein.) ART IN FRANCE. Fic. 8iI.—birds eye view of thk SEINE IN PARIS. (Photo, from Paris vu en ballon, byA. Schodcher and O. Dccugis.) of collectors into well-to-do societyas a whole. In the closing years of the nine-teenth century, Frenchmen began torecognise that in their admirationfor the furniture of Louis XV andLouis XVI, they had forgotten tomake any of their own. 1 hey be-gan to look about for an originalmethod of decoration suitable tomodern life. It was an impossibleenterprise, for a decorative system isnot a spontaneous creation ; one stylegenerates another. The modernstyle itself chose ancestors; its in-itiators were also imitators; but theysought inspiration outside of classicaland national styles. Grasset oweda good deal to the Middle Ages;others admired the Japanese, theirlight colours, their capricious lines, and the asymmetrical forms of theirart, which, unlike our own, had never been dominated by stone archi-tecture. Others again were attracted by English, Belgian, andAustrian models, by
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Keywords: ., bookcentury1900, bookdecade1910, bookpublishernew, booksubjectart
