. Art in France. odify actual life, furniture andcostume. The ruins of Pompeii not only rejuvenated open tomb transformed the world of the living. The revolutionary spirit brought its ardent passions to the aid ofthe antique. The art of the eighteenth century against which Vien,David and their pupils reacted, was an art of the aristocracy and theclergy. The neo-classicists had already repudiated it in the name ofaesthetics when the Revolution deprived it of all raison detre bydestroying the regime of which it was a luxurious accessory. Theart sprung from the classic democ
. Art in France. odify actual life, furniture andcostume. The ruins of Pompeii not only rejuvenated open tomb transformed the world of the living. The revolutionary spirit brought its ardent passions to the aid ofthe antique. The art of the eighteenth century against which Vien,David and their pupils reacted, was an art of the aristocracy and theclergy. The neo-classicists had already repudiated it in the name ofaesthetics when the Revolution deprived it of all raison detre bydestroying the regime of which it was a luxurious accessory. Theart sprung from the classic democracies did not seem tainted in itsorigin like that of the churches and palaces; like the republicaneloquence of the Conci-ones, it had not beencontaminated by despo-tism and the Revolutioncompleted the work of theRenaissance, and sweptaway the few Gothicremains which still sepa-rated modern from antiquethought. The Classicistsof the eighteenth centurywere, no doubt, pagan inimagination, but they. KXIMMUKV lllAll:!. OF UllIS \VI, IAKIS. 306 THE NEW CLASSICISM
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Keywords: ., bookcentury1900, bookdecade1910, bookpublishernew, booksubjectart
