. Art in France. FIG. 920.— ART IN FRANCE. FIG. 021.— DE LA BORDE. (The Louvre, Paris.) may be expressed by sculpturewhich deals with the man of thefactory and the man of the fields(Figs. 938, 939). In the last quarter of the nine-teenth century, the language ofsculpture has gained considerablyin richness and flexibility. Themnovators have sometimes discon-certed the public by their audac-ities; but many of these havegradually compelled most original and powerfulof these sculptors was Rodin;many young artists have taken himfor their guide, and his
. Art in France. FIG. 920.— ART IN FRANCE. FIG. 021.— DE LA BORDE. (The Louvre, Paris.) may be expressed by sculpturewhich deals with the man of thefactory and the man of the fields(Figs. 938, 939). In the last quarter of the nine-teenth century, the language ofsculpture has gained considerablyin richness and flexibility. Themnovators have sometimes discon-certed the public by their audac-ities; but many of these havegradually compelled most original and powerfulof these sculptors was Rodin;many young artists have taken himfor their guide, and his work ischaracteristic of the latest evolutionof French sculpture. He practises akind of plastic poetry, which some-times offends our conception of objective forms. The colouristicfantasies of the Impressionists were perhaps less amazing, becausethey were not out of harmony with the caprices of light. But insculpture, even more than in painting, it is difficult for us to lay asidethe sense of objective truth. NowRodin very often makes his model-ling su
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Keywords: ., bookcentury1900, bookdecade1910, bookpublishernew, booksubjectart
