. Art in France. the artist gives us, muchmore than the violent pantomime of combat,the pity and the sadness of the conqueror,the despair and rage of the conquered, alowering sky, the smoke of conflagrations,snow and blood. War was no longermerely a picturesque theme; it excitedemotions hitherto unimagined by was full of its fever; when the eraof battles was past, the soul of his workdied out with military enthusiasm. Hehad not the courage of his genius; hethought it necessary to return to classicalthemes. His master David, when he went into exile, left the school to his direction. He
. Art in France. the artist gives us, muchmore than the violent pantomime of combat,the pity and the sadness of the conqueror,the despair and rage of the conquered, alowering sky, the smoke of conflagrations,snow and blood. War was no longermerely a picturesque theme; it excitedemotions hitherto unimagined by was full of its fever; when the eraof battles was past, the soul of his workdied out with military enthusiasm. Hehad not the courage of his genius; hethought it necessary to return to classicalthemes. His master David, when he went into exile, left the school to his direction. He had always been somewhat over-awed by the helmeted heroes of ^^^^^^h^^^^^^^^^^^^^^h | the Acadeniv, and a little ashamed of his shakoed veterans. He accordinglv ceased to paint these, and his inspiration failed (Figs. 667-670). But it was not only the great days of the Revolu-tion or the victories of the Empire which seduced painters from antiquity. The example of the Flemish and Dutch Little Masters encouraged. FIC. 677.—BOILLY. THE ARRIVAL OF THE FRAGMENT. (The Louvre, Paris.)
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Keywords: ., bookcentury1900, bookdecade1910, bookpublishernew, booksubjectart
