. Art in France. iven him a taste for clearly-defined forms, simple planes, and rhythmic attitudes; his nymphs and satyrshave an elegance of form and attitude which implies a long plastic education; thev were fashioned bv antique and Renaissance art. His drawing is marked bv a virile grace; the forms are a little hard and sculpturesque,and in spite of colour that sometimeslacks consistence, they have that con-centrated energv, that density peculiarto large figures reduced to a small occasional Bacchanal or Triumphoj Flora just serves to indicate thatthe master was sometimes fired bv t
. Art in France. iven him a taste for clearly-defined forms, simple planes, and rhythmic attitudes; his nymphs and satyrshave an elegance of form and attitude which implies a long plastic education; thev were fashioned bv antique and Renaissance art. His drawing is marked bv a virile grace; the forms are a little hard and sculpturesque,and in spite of colour that sometimeslacks consistence, they have that con-centrated energv, that density peculiarto large figures reduced to a small occasional Bacchanal or Triumphoj Flora just serves to indicate thatthe master was sometimes fired bv theardour of Titian; in these cases thenudities which recline on the duskygrass become more amber or ruddy oftone, and a golden twilight overlavs thedeep, dark blue of the sky. But thiswas a transient phase in his art; ingeneral. Poussin does not look to colourfor the enrichment of his thought. Hegroups his attitudes mentally in verysimple landscapes. The light is diffusein broad patches, bringing the masses of206. FIG. 431.—LE SlErR. SAINT BRINO. (The Louvre, Paris.) THE EVOLUTION OF CLASSICAL ART
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Keywords: ., bookcentury1900, bookdecade1910, bookpublishernew, booksubjectart
