. Art in France. ;i). n M .\ 1111. KiJllULK:.) THE . (The Louvre, Paris.) 352 THE ROMANTIC PERIOD of those who first paintedit, seem concerned torender spiritual stateswhen they representedclouds or trees. At firstthe difficulties were of atechnical order. Foliage,clouds, and distant hori-zons were novel objectsfor these painters of historyor portraits. How manyconventions had to beforCTotten, how manv new. FIG. 740.—MARILHAT. RUINS OF THEOF CALIPH HAKEM. AT CAIRO. (The Louvre. Paris.) mm~^fa^^ *^^™n^^B —•-,■ , .m^ I^>.*-^^«l»S>-*.*,—=ar — ■ -^ M^^^<&s^^Sl mf/Kr i-^
. Art in France. ;i). n M .\ 1111. KiJllULK:.) THE . (The Louvre, Paris.) 352 THE ROMANTIC PERIOD of those who first paintedit, seem concerned torender spiritual stateswhen they representedclouds or trees. At firstthe difficulties were of atechnical order. Foliage,clouds, and distant hori-zons were novel objectsfor these painters of historyor portraits. How manyconventions had to beforCTotten, how manv new. FIG. 740.—MARILHAT. RUINS OF THEOF CALIPH HAKEM. AT CAIRO. (The Louvre. Paris.) mm~^fa^^ *^^™n^^B —•-,■ , .m^ I^>.*-^^«l»S>-*.*,—=ar — ■ -^ M^^^<&s^^Sl mf/Kr i-^sSss^ HBmj^^^^^s W^0 When atreign of FIG. 741.— ISABEY. VIEW OF DIEPPE. (Museum, Xancy.) terms invented!the end of theLouis XVI, perfectly sin-cere artists had attemptedto copy grass and waterfrom Nature, they hadfound only dull, non-translucent colour on theirpalettes. The audacity ofDelacroix and the fan-tasies of the Romanticistshad at least shown that colour could be freelytreated. Instead of spread-ing it like plaster, neatlyglazed, Delacroix, whenhe painted the Massacreof Scio, juxtaposed bril-liant tints and franktouches, leaving the eyeto harmonise these vividtones. Delacroix hadalreadv been inspired bythe English landscapepainters; the French land-scape painters profited byhis example. But Dela-
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Keywords: ., bookcentury1900, bookdecade1910, bookpublishernew, booksubjectart
