. Art in France. und these by analogy,evoke the aristocracy of the sixteenthcentury with great vitality. There arefew historical periods the actors in which are more familiar to us than those of the reigns of Francis I, Henry II and Henry III. If they could revisit us, we should recognise all the men who lived round Francis I: the king with his large nose, and his sleepy eyes, broad-shouldered, and decollete like a woman, and all the gentlemen of the religious wars, scented and affected like their kings, the three sons of Catherine de Medici, whose shivering senility and puerile coquetry they
. Art in France. und these by analogy,evoke the aristocracy of the sixteenthcentury with great vitality. There arefew historical periods the actors in which are more familiar to us than those of the reigns of Francis I, Henry II and Henry III. If they could revisit us, we should recognise all the men who lived round Francis I: the king with his large nose, and his sleepy eyes, broad-shouldered, and decollete like a woman, and all the gentlemen of the religious wars, scented and affected like their kings, the three sons of Catherine de Medici, whose shivering senility and puerile coquetry they imitate. Jannet and Corneille de Lyon have admirably rendered the aristocratic pallor and milky complexions of the Court ladies, with tints as light as water-colours; their painting, consisting entirely of glazes, is diaphanous as a fair skin. In the portrait of Elisabeth of Austria, the brilliant accessories of the costume, the silk, and the gems of the ornaments make the line porcelain textures of the flesh 170. KU:. 351.— JKAN fontaink , PARIS. GOTHIC STYLE TO CLASSICAL ART appear still more fragileand delicate. Corneille deLyon was fond of settingthese white faces against agreen background, for thesake of the rosy irradiationsuch a scheme imparts tothem. Few colours wereused in these portraits;sometimes these weredispensed with altogether;simple drawings, with afew touches of red chalk,suffice to suggest thevivacity of the glance and FIG. 353. TOMB OF PHILIPPE DE CH.^BOT. (The Louvre, Paris.) tion, that this, after havingcreated the Gothic formshould have abandoned italtogether in favour ofclassical art. The otherEuropean countries wentthrough the same meta-morphosis. But the classicregions, such as Italy, hadnever fully accepted
Size: 1757px × 1422px
Photo credit: © Reading Room 2020 / Alamy / Afripics
License: Licensed
Model Released: No
Keywords: ., bookcentury1900, bookdecade1910, bookpublishernew, booksubjectart
