. Art in France. 710. — SOlRlE. THE ROMANTIC PERIOD. FIG. 720. ARY SCHEFFER. SAINT AUGUSTINE AND SAINT MONICA. (The Louvre, Paris.) a Holbein with the grace of theFlorentines. We cannot but ad-mire the manner in which he fixesreality with a few strokes of thepencil, and informs the majesty ofa Greek drapery with truth. His rhythmical design was moreattuned to the round contours offeminine nudity than to the salientmuscles of an athletic body. Thelimbs he drav/s show no effort;his favourite attitudes were thoseof an arm in repose, or of a sup-ple body reclining languidly. Hisprepara
. Art in France. 710. — SOlRlE. THE ROMANTIC PERIOD. FIG. 720. ARY SCHEFFER. SAINT AUGUSTINE AND SAINT MONICA. (The Louvre, Paris.) a Holbein with the grace of theFlorentines. We cannot but ad-mire the manner in which he fixesreality with a few strokes of thepencil, and informs the majesty ofa Greek drapery with truth. His rhythmical design was moreattuned to the round contours offeminine nudity than to the salientmuscles of an athletic body. Thelimbs he drav/s show no effort;his favourite attitudes were thoseof an arm in repose, or of a sup-ple body reclining languidly. Hispreparatory sketches return againand again to the inclination of aneck, the curve of a shoulder, thepose of a hand upon a best portraits of women owemuch of their elegance to the curve which undulates from the line ofthe neck along the arm to the finger-tips. The bust bends slightlyforward, as if to allow these relaxed lines to fall more easily. Theface is less interesting to him, for here the modelling gave lessopportunity for the exercise of his sinuous
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Keywords: ., bookcentury1900, bookdecade1910, bookpublishernew, booksubjectart
