The art of painting in the nineteenth century . er bestwork dates from the eighteenth century, althoughshe lived half her life in the nineteenth centuryand died in 1842, eighty-six years of age. Born one year after Mme. Lebrun had died,Henri Regnault (1843-1871) early promised abrilliant career. Unfortunately it was cut shortby his untimely death in the Franco-PrussianWar. Naturally his fellow-citizens consider hispromise as almost the equivalent of actualachievement, and rank him as one of their bestartists. In color he has been declared to be theequal of Delacroix, but in choice of subjects
The art of painting in the nineteenth century . er bestwork dates from the eighteenth century, althoughshe lived half her life in the nineteenth centuryand died in 1842, eighty-six years of age. Born one year after Mme. Lebrun had died,Henri Regnault (1843-1871) early promised abrilliant career. Unfortunately it was cut shortby his untimely death in the Franco-PrussianWar. Naturally his fellow-citizens consider hispromise as almost the equivalent of actualachievement, and rank him as one of their bestartists. In color he has been declared to be theequal of Delacroix, but in choice of subjects hestands alone. His fiery temper made him selectscenes of horror, in which the most somber ofhis Spanish contemporaries might have is impossible to judge what he would haveaccomplished if he had lived longer. Jules Elie Delaunay (1828-1892) made hismark as an ardent admirer of the early ItalianRenaissance, and, although not a genius in thesense of David or Delacroix, infused into hispictures a spirit of artistic dignity which will. FRENCH PAINTING 19 preserve his name as that of a true artist whenmany of the Classicists and Romanticists willhave been forgotten. He was also singularlysuccessful in portraiture. With Gustave Courbet (1819-1878) there camea revolution into the world of art. He has beencalled a painter-animal, and indeed the delica-cies of human intercourse were unknown to himboth in painting and in life. He was for Frenchart what George Bernard Shaw has set outto be for the English stage, both men endeavor-ing to supplant idealism, as they interpret ex-isting conditions, with realism. The galleriesshould remain closed for twenty years, * shoutedCourbet, so that the moderns might at lastbegin to see with their own eyes. ... As forMr. Raphael there is no doubt that he paintedsome interesting portraits, but I cannot find anyideas in them. ... I have studied the art ofthe old masters and of the more modern. I havetried to imitate the one as little as I hav
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