. Art in France. 415. — AITKIIU ; 10 1111. PLAYERS. THE EVOLUTION OF CLASSICAL ART. FIG. 41b.—LE NAIX. PORTRAIT <JF AMEMBER OF THE FAMILY. (Museum of .\gnon.) the monarchical mythology of Fontainebleau in the houses of private citizens. Le Sueur (1616-1655), no doubt, owes his somewhat flac-cid facility to Vouet. He never visitedltaly; he was, nevertheless, thanks to the engravers, a fervent admirer, and sometimes even a copyist of Raphael, especially when he exerted himself. In the numerous works this painter, who died young, executed for financiers and for religio
. Art in France. 415. — AITKIIU ; 10 1111. PLAYERS. THE EVOLUTION OF CLASSICAL ART. FIG. 41b.—LE NAIX. PORTRAIT <JF AMEMBER OF THE FAMILY. (Museum of .\gnon.) the monarchical mythology of Fontainebleau in the houses of private citizens. Le Sueur (1616-1655), no doubt, owes his somewhat flac-cid facility to Vouet. He never visitedltaly; he was, nevertheless, thanks to the engravers, a fervent admirer, and sometimes even a copyist of Raphael, especially when he exerted himself. In the numerous works this painter, who died young, executed for financiers and for religious houses, there is something of the sincerity and artlessness of the Primitives. He does not make use of the Bolognese method of great masses of shade; his general tone is light and paUid; the draperies often show that acid crudity to which devout painters have always been prone. The sentiment is never obscured by the technique; his mourning Virgins with their pallid tints express grief in the terms of a melancholy saturated with tears. Sometimes he gives us certainfigures peculiarly his o
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Keywords: ., bookcentury1900, bookdecade1910, bookpublishernew, booksubjectart
