File:The art of painting in the nineteenth century (1908) (14781090734).jpg

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

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eat fault, says Professor Gensel, was that he did not seek beauty in the individual, but in the average. As a result his art was not natural and free, but cold and pedantic. Cold it is, to be sure, but it is that coldness which suggests grandeur and nobility, and which compels the admiration of the spectator in spite of himself. Four hundred and twenty artists of all nation-alities are mentioned as pupils of David; few,however, have made names for themselves. The personality of the master was too powerful. As a result his school soon declined, and would have done so even sooner if Jean Dominique Ingres(1780-1867) had not infused new life into it. Ingres was attracted not only by the antique but also by the later paintings of Raphael, which taught him grace. His color was always subservient to his drawing, while his modeling, especially of nude figures, revealed the unex-celled master of form. He was at his best in portraits and in pictures of single figures, but was unsuccessful in large compositions.
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William-Adolphe Bouguereau ; Madonna Consolatrix

FRENCH PAINTING II The fact that Ingres sought inspiration in part from Raphael makes a bond between the classic movement under his leadership and the so-called Romanticists, for these men also turned to the masters of a more immediate past. The fundamental difference between the two schools lies in the contempt which the Romanticists showered on the antique, and the ardor with which they defended the superiority of color over form. Theodore Gericault (i 791-1824) was the first of this school, but he died too young to become its leader. This honor was reserved for Eugene Delacroix (1799-1863). The art develop-ment of this man is best summed up in the words which he himself entered in his diary shortly before his death, To be a feast for the eyes is the first merit of a picture. Color and all its enticing charms were the stars which he followed, unmindful of the classic-academic dis-approval. They called him the painter with the intoxicated brush, or the sc

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