. Art in France. PRINCESS BONAPARTE. (The Louvre, Paris.) ART IN FRANCE. FlC. 668.— PLAGUE-STRICKKN AT JAFFA. (The Louvre, Paris.) (Photo. Neurdein.) rlous work (1767-1824).we are conscious of theconstraint of a languageobliged to express senti-ments for which it wasnot made. To suggesttenderness or melancholy,he envelops his Endym-ion or his Atala instrange lights. In hisDeluge and his Battle ofCairo, he interminglesgreat bodies in violentattitudes, to show theabandonment of passion. But the rigidity of the design gives akind of stony fixity to the tumult, and the languorous s
. Art in France. PRINCESS BONAPARTE. (The Louvre, Paris.) ART IN FRANCE. FlC. 668.— PLAGUE-STRICKKN AT JAFFA. (The Louvre, Paris.) (Photo. Neurdein.) rlous work (1767-1824).we are conscious of theconstraint of a languageobliged to express senti-ments for which it wasnot made. To suggesttenderness or melancholy,he envelops his Endym-ion or his Atala instrange lights. In hisDeluge and his Battle ofCairo, he interminglesgreat bodies in violentattitudes, to show theabandonment of passion. But the rigidity of the design gives akind of stony fixity to the tumult, and the languorous softness ofthe atmosphere disappears under the icy precision of the discord between Romantic sentimentality and the Classicaltongue may be read in Girodets ineffectual work. On the other hand, many mediocre painters attempted to rise tothe nobility of the new Classicism, while retaining the amorous com-plexion of the art of Louis XVI. David himself painted the lovesof Helen and those of Psyche. Efforts were made to raise lachry-mose sensibility or elegant libert
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Keywords: ., bookcentury1900, bookdecade1910, bookpublishernew, booksubjectart
