. Art in France. uds which weigh on the horizon, like thewalls of dry stones which outline the irregularities of the land andshut in the uncultivated fields. In Menard and Dauchez we notea desire to generalise the character of the landscape; they graspthe aspect of gulf, lake, forest, and ruin as a whole. The imagethey give us has not the episodic character of a motive painted from Nature; they have seized it inits essence by an effort of the mindrather than of the eye. Often anantique monument gives that idea ofeternity. So our Classicists of theseventeenth century, Poussin andLorrain, compos
. Art in France. uds which weigh on the horizon, like thewalls of dry stones which outline the irregularities of the land andshut in the uncultivated fields. In Menard and Dauchez we notea desire to generalise the character of the landscape; they graspthe aspect of gulf, lake, forest, and ruin as a whole. The imagethey give us has not the episodic character of a motive painted from Nature; they have seized it inits essence by an effort of the mindrather than of the eye. Often anantique monument gives that idea ofeternity. So our Classicists of theseventeenth century, Poussin andLorrain, composed Arcadias andseaports under the setting sun. Toproduce such landscapes, it is notenough to see well and copy well;it is necessary to feel the inherentlogic which has given objects theirform. Claude Lorrain and JosephVernet were guilty of geologicalabsurdities in their modern heirs commit no suchblunders, they know how the strataslide, how the rocks break, howclouds form and beaches are FIG. SOQ. — CLAUDE OF A WOMAN. (Museum of Berlin.) ART IN FRANCE
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Keywords: ., bookcentury1900, bookdecade1910, bookpublishernew, booksubjectart
