File:McClure's magazine (1893) (14743832796).jpg

Identifier: mccluresmagazinemccl (find matches)
Title: McClure's magazine
Year: 1893 (1890s)
Authors: McClure, S. S. (Samuel Sidney), 1857-1949
Subjects:
Publisher: New York : S.S. McClure
Contributing Library: Lincoln Financial Foundation Collection
Digitizing Sponsor: The Institute of Museum and Library Services through an Indiana State Library LSTA Grant

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hem which characterized pictures and statues were to be permitted the higher classes of the time, may be felt to exist or their production encouraged,in its art; of the great outside world, of This debate must have fallen strangely the hungry masses so soon to rise in rebel- on the ears of one of the members of the lion, nothing is seen. One may walk Convention, who had already made his through the palaces at Versailles, may power as an artist felt, and who was from search through the pictures of the epoch that time for more than forty years to be in the Louvre, or linger at Sans Souci in the directing influence, not only of French Potsdam—where Frederick filled his house art, but of painting on the Continent in with sculptured duchesses in classical cos- general. This man, Jacques Louis David, tume playing at Diana, and covered his in point of fact was soon practically to walls with Watteaus and his ceilings with demonstrate to his colleagues that art had A CENTURY OF PAINTING. 147
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MICHEL GERARD AND HIS FAMILY. FROM A PAINTING BY DAVID. Michel GeVard was a member of the National Assembly, the body which ruled France in the tirst years of the Revolu-tion, from 1789 to 1791. The picture represents him in the midst of his family, attired with the simplicity affected by theRevolutionary leaders at that time. as its mission other aims than those fol-lowed by the painters of the preceding-generations. It fell that Lepelletier, oneof the members of the Convention, was as-sassinated, and Davids brush portrayedhim as he lay dead; and the picture, beingbrought into the legislative hall, movedthe entire assembly to a conviction that the art of the painter struck a human chordwhich vibrated deep in the heart of man. But a little later, when Marat, the Friendof Man, was stricken down, a voice rosein the Convention, Where art thou, Da-vid ? And again, responding to the call, hepainted the picture of the dead demagoguelying in his bath, his pen in hand, a half- 148 A CENTURY O

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