. Art in France. rs; the figureis drawn up, and the robe falls about itin quiet folds. These statues are charac-terised, not by the sovereign majesty of the Virgin Queens of thethirteenth century, but by the somewhat rustic elegance dear toJean Bourdichon and the Master of Moulins. The violentimagiers are now modelling gentle feminine faces. The Virginof Ecouen, and still more, the Virgin of Olivet (Fig. 316) areamong the most seductive figures of French statuary. Herenervous energy and will-power were not demanded; the artist gavehimself up to a novel pleasure, the delight of creating and con
. Art in France. rs; the figureis drawn up, and the robe falls about itin quiet folds. These statues are charac-terised, not by the sovereign majesty of the Virgin Queens of thethirteenth century, but by the somewhat rustic elegance dear toJean Bourdichon and the Master of Moulins. The violentimagiers are now modelling gentle feminine faces. The Virginof Ecouen, and still more, the Virgin of Olivet (Fig. 316) areamong the most seductive figures of French statuary. Herenervous energy and will-power were not demanded; the artist gavehimself up to a novel pleasure, the delight of creating and contem-plating a charming form. The men who loved these works wereas yet unacquainted withItalian beauty, but theywere fully prepared toreceive and welcome were beginning toessay the refinements ofthe Italian art was aboutto teach them to enduethe whole body in its sup-I)leness of attitudes anddraperies, with that purityof line they had alreadyachieved in the featuresof the face. Had she. .<.?!.— SKHl lA UKK IIU. < Hi K. SAINT-ETIKNNK, AT (fliolo. MoHumrnts Hisloriquts.) 160 GOTHIC STYLE TO CLASSICAL ART
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Keywords: ., bookcentury1900, bookdecade1910, bookpublishernew, booksubjectart
