. Art in France. V ^ R. S. ,18981.—H. Callot, Paris, 1889.—M. Vachon,/. Ca//o/, Paris. Sd.—A. Valabregue,Abraham Basse, Paris, 1891.—Champfleury, Essai sur la vie el Iceuvre des LeNain, Paris, 1850.—J. Guiffrey, Antoine, Louis et Malhieu Le Nain, Nouoeaux documents iN. A. A. F., 1876).—G. Grandin, Documents sur les artistes de Laon A. A. A. F., 1894-95; La famille LenainiR. S. B. A. D., 1900>.—A. Valabregue, Le freres Le Nain, Paris, 1904.—Gazier, Philippe etJean-Baptiste de Champaigne, Paris, 1893.—L. Vitet, Euslache Le Sueur. Paris, 1853; Sur LeSueur (A. A. F., 1855, and
. Art in France. V ^ R. S. ,18981.—H. Callot, Paris, 1889.—M. Vachon,/. Ca//o/, Paris. Sd.—A. Valabregue,Abraham Basse, Paris, 1891.—Champfleury, Essai sur la vie el Iceuvre des LeNain, Paris, 1850.—J. Guiffrey, Antoine, Louis et Malhieu Le Nain, Nouoeaux documents iN. A. A. F., 1876).—G. Grandin, Documents sur les artistes de Laon A. A. A. F., 1894-95; La famille LenainiR. S. B. A. D., 1900>.—A. Valabregue, Le freres Le Nain, Paris, 1904.—Gazier, Philippe etJean-Baptiste de Champaigne, Paris, 1893.—L. Vitet, Euslache Le Sueur. Paris, 1853; Sur LeSueur (A. A. F., 1855, and N. A. A. F., 1877-78).—Ch. Ponsonailhe, Sebaslien Bourdon, savie el son wuvre, Paris, 1891.—Nicolas Poussin, Letlres publiees par Qualremere de —Maria Graham, Life of Nicolas Poussin i 1821 ).—H. Bouchitte, Le Pousin, Paris. 1858.—P. Desjardins, Poussin. Paris, 1903.—Mrs. Mark Pattison (Lady Dilke), Claude Lorrain,Paris, 1884.—R. Bouyer. Claude Lorrain. Paris. 1904. 213. 444-—LKNTRAI. pavilion of THK ( in IHK lc)l\KI. CHAPTER III THE MONARCHICAL ART OF LOUIS XIV Colberts Projects and Institutions.— The Continuation of the — The Function and theIVork of C/iai/ji Le Brun. — Mignard. The Cirardon and Cousevox. PierrePugcl. Mansarts Ver aillcs: Marble Court; the Decorclicn of the Apartment]: theRoyal ; the Great Gallery. Le Notres Park, the Groves and Fountains; theAllegorical and MythohgiccI Statues. I he Symbolism of \ cr aillcs. Paris; the of Colberts IVork; IecHnical Progress and Centralisation. The Century of Louis XIV glorilied by historians was nospontaneous growth. Its artistic prosperity was prepared andorganised by ministerial instruction. As soon as Colbert had gotthe superiritendence of royal buildings in his hands, he set to workto produce French artists for the service of the king. He hopedby means of monuments to (i.\ that glory which survives civilisat
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