. Art in France. hich ratifyBaillys vow. No better expo-sition of Napoleons power could be offered than the pictures of the Coronation of Napoleon (Fig. 641) and the Distribution of the Eagles; the wild enthusiasm of the officers for the Emperor, the gesture of the new Caesar bestowing the crown in the presence of a passive pope and of an assembly of high functionaries proud of their new honours and glad to share in this consecration which was also their own. Thus Davids realism remains classical; the spectacles of contemporary history are subjected to the same laws as imaginary scenes with an
. Art in France. hich ratifyBaillys vow. No better expo-sition of Napoleons power could be offered than the pictures of the Coronation of Napoleon (Fig. 641) and the Distribution of the Eagles; the wild enthusiasm of the officers for the Emperor, the gesture of the new Caesar bestowing the crown in the presence of a passive pope and of an assembly of high functionaries proud of their new honours and glad to share in this consecration which was also their own. Thus Davids realism remains classical; the spectacles of contemporary history are subjected to the same laws as imaginary scenes with antique personages; he gives us correct forms and expressive atti-tudes, composition as stable as archi-tecture, and a great thought animating actors, spectators, and (1774 1833) had learnt the new aesthetics, idealism and classicism, in the studio of his master Regnault, as Lethiere had done in that of Vincent. Guerin sought success in the expression of emotion more intently than David. His most 316. (1(15.—;KAKi>. roKiKvii Mh iiik PAINTER ISABEY AND JUS (The Louvre, Paris.) THE NEW CLASSICISM
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Keywords: ., bookcentury1900, bookdecade1910, bookpublishernew, booksubjectart
