. Art in France. Freminet and Du-bois, the successors of theschool of Fontainebleau,the most influential master was Simon Vouet (1590-1649). He showed much skill in utilising the inventions of the great Italian decorators. Judging from Dorignys engravings, some of his compositions seem to have been little more than copies of Veronese. But his talent was purely superficial, and such of his paintings as have survived show but too clearly that he had not assimilated the Italians charm of colour. With its heavy reds in the shadows, its insipid pallor in the light, his colour at on
. Art in France. Freminet and Du-bois, the successors of theschool of Fontainebleau,the most influential master was Simon Vouet (1590-1649). He showed much skill in utilising the inventions of the great Italian decorators. Judging from Dorignys engravings, some of his compositions seem to have been little more than copies of Veronese. But his talent was purely superficial, and such of his paintings as have survived show but too clearly that he had not assimilated the Italians charm of colour. With its heavy reds in the shadows, its insipid pallor in the light, his colour at once becomes discordant when he attempts to make it brilliant (Fig. 424). Many of these faults re-appear in his pupils, Le Sueur, Le Brun, and Mignard. But he has a true historical importance as the master of some of the greatest artists of the (Museum of .\ix.) French classical school. He embodies the transition between the decorators of Henry II and those of Louis XIV. Together with his pupils, he propagated 198. 415. — AITKIIU ; 10 1111. PLAYERS. THE EVOLUTION OF CLASSICAL ART
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Keywords: ., bookcentury1900, bookdecade1910, bookpublishernew, booksubjectart
