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The art of painting in the nineteenth century (1908) (14783102612)
Summary
Identifier: artofpaintinginn00machrich (find matches)
Title: The art of painting in the nineteenth century
Year: 1908 (1900s)
Authors: Mach, Edmund von, 1870-1927
Subjects: Painting -- History
Publisher: Boston and London, Ginn and company
Contributing Library: University of California Libraries
Digitizing Sponsor: MSN
Text Appearing Before Image:
heresof life whence they draw their inspiration. Jules Bastien-Lepage (i848-1884) painted peas-ant pictures a la Millet, but with the new tech-nique; Leon Lhermitte (1844 ) did much the same, while Pascal Adolphe Dagnan-Bouveret (1852 ), beginning with genre scenes, is the only one of all the men who are more orless closely identified with Impressionism, whodeveloped into a great painter of religioussubjects. Giovanni Boldini (1844 ), an Italian living in Paris, is one of the most charming portraitpainters of high life, and Jean Francois Raffaeli (1850 ) one of the most spirited portrayers of views of Paris and of cosmopolitan types. All these men and many more have boldlyapplied what is best in Impressionism to theirown art, and have taken good care not to offendthe public taste with the excesses which the Im-pressionists themselves have often committed. With few exceptions the trend of French artin the nineteenth century kept step with therapidly developing accuracy of human vision.
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oC fi ft 43 £ .5 FRENCH PAINTING 31 But people do not always wish to see; some-times they want, or at least should want, todream. In Pierre Puvis de Chavannes (1824-1898) they have an artist whose work satisfiesthis need. In viewing his pictures one receivesthe same impressions of a divinely pure andblessed world which the sacred pictures of thegreat Italians used to produce. In the hurry of abusy life Chavannes causes one to stop awhileand dream and feel. He has achieved this withthe noble simplicity of his conceptions, and tech-nically with the long sweeping lines and lightcolors which soothe the eye. Most of his picturesare symbolic, but they are never frostily allegoriclike the pictures of the later Classicists. Theyare readily understood and need no learned com-mentary. Gustave Moreau (1826-1898) worked not un-like Puvis de Chavannes, but he lacked hiswholesomeness. Chavannes takes one to theElysian Fields, Moreau to the Mountain ofVenus. Jean Charles Cazin (1841-1901), on theot
As one of the primary painters of peasant themes in the nineteenth century, and an artist strongly influenced by his own native traditions from northern France, Jules Breton’s reputation rivaled that of Eugène Delacroix or Jean-Dominique Ingres at the time of his death in 1906. Since then, after a long period of relative obscurity, Breton has returned to considerable favor; he is now regarded as a primary painter of daily life with an inherent and substantial understanding of the old masters form the Italian renaissance especially Raphael. The latter artists helped Breton fashion a highly idealist version of peasant beauty.
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