. Art in France. FIG. 582.—LAVREINCE. THE BILLETDOUX. ENGRAVING. (Bibliotheque Nationale, Print Room.) ART IN FRANCE. FIG. 583. — YOINC GIKL. (The Louvre, Paris.) The society of the day accordinglycraved for representations of ruins,waterfalls and shipwrecks. Land-scape-painting became prodigiouslypopular. Certain painters at-tempted to fix the spectacles whichinspired so much romantic painting was unable to givethe public the images it demanded ;the eye of the diverting artists ofthe day could not contemplateNature devoutly. Joseph Vernet(1714-1789) began with con-scienti
. Art in France. FIG. 582.—LAVREINCE. THE BILLETDOUX. ENGRAVING. (Bibliotheque Nationale, Print Room.) ART IN FRANCE. FIG. 583. — YOINC GIKL. (The Louvre, Paris.) The society of the day accordinglycraved for representations of ruins,waterfalls and shipwrecks. Land-scape-painting became prodigiouslypopular. Certain painters at-tempted to fix the spectacles whichinspired so much romantic painting was unable to givethe public the images it demanded ;the eye of the diverting artists ofthe day could not contemplateNature devoutly. Joseph Vernet(1714-1789) began with con-scientious copies of Roman scenery,which he coloured from Nature,with somewhat chalky, but sincere,tints. He reproduced their pictu-resque aspects without poetry, with-Tiber that majesty which ennoblesWhen he came to Paris, the out giving the banks of thePoussins compositions (Fig. 585)public demanded storms, shipwrecks, and night effects from himHe was the first purveyor of Romanti-cism, which thenceforth proved aneager consumer of tempests and moon-light scenes. In spite of his sincererespect for truth, he reduced
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Keywords: ., bookcentury1900, bookdecade1910, bookpublishernew, booksubjectart
