. Art in France. y,>6.—FREMIET OKANG-OLIANC; AND SA\AGtIN BORNEO. 445 ART IN FRANCE. FIG. 020.—CHAPU. HENRI REGNAULT. (luolf des , Paris.) thev have now been practising an inde-pendent and expressive art too long tobe able to accept architecture as theirraison detre. The best of modern sculp-tors, Puget and Carpeaux, decoratedclassical fagades with very undisciplinedfigures. Our modern statuary will con-tinue to be scattered along the avenuesand to penetrate into our houses underthe diminutive form of bric-a-brac. Commemorative monuments are nowthe principal resource o
. Art in France. y,>6.—FREMIET OKANG-OLIANC; AND SA\AGtIN BORNEO. 445 ART IN FRANCE. FIG. 020.—CHAPU. HENRI REGNAULT. (luolf des , Paris.) thev have now been practising an inde-pendent and expressive art too long tobe able to accept architecture as theirraison detre. The best of modern sculp-tors, Puget and Carpeaux, decoratedclassical fagades with very undisciplinedfigures. Our modern statuary will con-tinue to be scattered along the avenuesand to penetrate into our houses underthe diminutive form of bric-a-brac. Commemorative monuments are nowthe principal resource of sculptors. Sincesculpture has provided public images forthat religion of hero-worship, gloriousmemories, and abstract principles whichhas replaced popular saints and the my-thology of the Humanists, statuary hasrecovered a certain social utility whichit lacked at the end of the eighteenth century. These stone documents record the faith of France in the nineteenth century, and the forms of her ideal. The art of David dAngers dealt with celebrities approved by the verdict of centu
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Keywords: ., bookcentury1900, bookdecade1910, bookpublishernew, booksubjectart
