. Art in France. d to , indeed, admired Raphael as much as he admired the antique. He was little concerned with the youthful Umbrian of radiant Madonnas and luminous landscapes ; he carried away nothing from the Vatican Stanze beyond a few beautiful attitudes, and the group of the Muses on Parnassus. But he penetrated to the very soul of the narrative art of the Loggie and the Cartoons. It was in this illustrated Bible that he learned how to tell a story in attitudes, physiognomies, and agitated draperies, enframed in landscapes and was not, like certain of
. Art in France. d to , indeed, admired Raphael as much as he admired the antique. He was little concerned with the youthful Umbrian of radiant Madonnas and luminous landscapes ; he carried away nothing from the Vatican Stanze beyond a few beautiful attitudes, and the group of the Muses on Parnassus. But he penetrated to the very soul of the narrative art of the Loggie and the Cartoons. It was in this illustrated Bible that he learned how to tell a story in attitudes, physiognomies, and agitated draperies, enframed in landscapes and was not, like certain of his contemporaries, Rubens or Rembrandt for instance, the creator of a pictorial world ; his originality lies primarily in his organising faculty; his genius manifests itself almost entirelv in his powerful composition, a pic-turesque composition which knits lines and planes of light closely together, a moral composition which subordinates a variety of attitudes and types to a dominant idea. A strong intelligence. FIG. 420.—LE PAUL PRE.^CHING AT EPHESUS. (The Louvre, Paris.) 205 ART IN FRANCE
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Keywords: ., bookcentury1900, bookdecade1910, bookpublishernew, booksubjectart
