. Art in France. 2.—G. MICHEL. ENVIRONS OFMONTMARTRE. (The Louvre, Paris.) 353 ART IN FRANCE. tie. 743—HUKT. INLNUAIION AT SAINT-CLOLD. (The Louvre, Paris.) croix was essentially ahistory-painter; and hisstyle, like that of theClassicists, was better fit-ted for the treatment offigures and draperies thanfor that of serrated foli-age, vaporous clouds oraspects of the soil. That which we callNature is a thing ofextraordinary complexity,and the French paintersof this Nature would,no doubt, have been more tentative in their researches if the Dutch-men of the seventeenth centurv had not composed ad
. Art in France. 2.—G. MICHEL. ENVIRONS OFMONTMARTRE. (The Louvre, Paris.) 353 ART IN FRANCE. tie. 743—HUKT. INLNUAIION AT SAINT-CLOLD. (The Louvre, Paris.) croix was essentially ahistory-painter; and hisstyle, like that of theClassicists, was better fit-ted for the treatment offigures and draperies thanfor that of serrated foli-age, vaporous clouds oraspects of the soil. That which we callNature is a thing ofextraordinary complexity,and the French paintersof this Nature would,no doubt, have been more tentative in their researches if the Dutch-men of the seventeenth centurv had not composed admirable land-scapes before their time. The first generation of French landscapepainters was of the Dutch family; they were sincere and clear-sighted ; but distant memories dominate their individual work. Untilthe time of the Impressionists, we shall recognise the vision of themasters of Amsterdam and Harlem in the manner of choosing andarranging a scene. The first efforts of landscape were hesitating. A forgotten artist,Georges Michel, shows a powerful sincerity in spite of a somewhatru
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