. Art in France. ented by him-self. His painting has nothing in common with any of the stylesadmired in his day; his method is that of an honest craftsman, whodespises tinsel; his gowns have no brilliantly broken folds, and hisfurniture dispenses with rococo ornament; his colour is sober, and laidon by a quiet hand which fears to seem too easy; gliding peacefullyover the surface, the brush has leftfat contours on the coarse canvas;the creamv impasto softens angles,and gives that look of use charac-teristic of objects which have donegood service; it does not aim atillusion, but it differentiate
. Art in France. ented by him-self. His painting has nothing in common with any of the stylesadmired in his day; his method is that of an honest craftsman, whodespises tinsel; his gowns have no brilliantly broken folds, and hisfurniture dispenses with rococo ornament; his colour is sober, and laidon by a quiet hand which fears to seem too easy; gliding peacefullyover the surface, the brush has leftfat contours on the coarse canvas;the creamv impasto softens angles,and gives that look of use charac-teristic of objects which have donegood service; it does not aim atillusion, but it differentiates thesubstance of each thing repre-sented, suggesting the dented sur-face of brass and copper vessels,the soft bloom of the peach, therough skin of the pear, the polishedred of the unripe apple, and thecracked glaze of an earthen pitch-er ; it lends pictorial interest to tex-tures sacridced by other painters,grey clolh, white linen, old wood ;his well-woven tissue renders thepeaceful continuity of light in an 272. 72.—GREIVE. THE BROKENPITCHER. (The Louvre, Paris.) PARISIAN ART UNDER LOUIS XV AND LOUIS XVI interior, gleaming on polished surfaces, dying away on dull ones,enclosed by the discreet shadows that steal along the walls. The painters of the simple life who have shown themselvescapable of redeeming its banality by their affectionate solicitude,have been rare in the French School, and indeed in all often, the professors of realism show an excessive pleasurein their imitative skill. Teniers and Brouwer ridiculed their boorsand drunkards. But on the other hand, Jean Fouquet in his minia-tures, the Le Nains and Chardin, never seem bent on amusing orastonishing the spectator. Thehumble lives they have describedare made all the more attractiveby this sincerity; there is no resist-ing an art so thoroughly unpre-tentious. We cannot wonder thatsuch painters should have beenrare. Chardin said that an artistdoes not paint with colours, butwith sentiment, the thing mo
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