The Iola register. [volume] (Iola, Allen County, Kansas) 1875-1902, 1900-03-16
The Work of David.


The direction of French art during
the reign of Louis XIV continued
that reflection of passing history that
has been at all times its chief charac-
teristic. 1t was soulless and empty
enough during the latter part OF the
time of the "Grand Monarch" but
Louis XIV. stimulating as he did the
golden age of French literature, had
some genuine sense of artistic great
ness and artistic requirements, But
his prOfligate successor Only looked
upon art as one more means of graft
flying his joded appetite. influential
society TOOK it's tone from the court,
and the painters of the period used
very brilliant and polished facility to
supply the existing demand.
This facility OF execution was all
that marked advance. Nobility was
merely aname. Italian influence had
lost it's hold, and maunerlsm was su
preme. But little saving grace came
in from Flanders and though their
love of genre work was minitied and
'bedzzened by the French adaptation
it gave the production of Vatican "a
certain essential element OF sincerity
and truth. Life with Vatican, in
his pictures-for his own history is
sad one-is all a gay holiday. He
shows us the joyous play of princely
,courtiers and ladies of high degree in
beautiful landscape settings that
seem especially made for courts of
love, and though his lack Of any
great depth is at once apparent, his
grace and charm are irresistible.
"This IL our most pleasing asp, Ct"
he seems to say, land | will paint Il
as wildly and truly az / cam
OF the great number Of artists
who accompanied and followed Wat.
teau, BOFcher must be mentioned as
giving in counter-distinction to him
all the ugliness ana immortality of the
society they knew. He cared moth
ing for nature because it had "noth-
ing seductive about it" and with a
pronounced skill and superior
Imagination, he hesitated at no phase
of eroticism that claimed his atten-
tIon in following the popular taste.
His work was done with an assurance
and fascination withsl that might
have made him great influence for
good. AS it is the strain of undue
license that cannot be overlooked in
French art has one OF it's sources In
Bouc hers strong mastery.
With the approach of the revolu-
ton and the writing Of Rousseau,
lDiderot and VoltAire, the force OF in
.dividualism as well as the error OF
,skepticism was all In the air. Art,
having reached the limits OF extravA-
gAnce and perversion, received from
tho changing atmosphere fresh
breath of life and Jean BAptiste
Creme, stimulated by the dramas OF
IDiderot, began to paint the love and
toll and yearniDg aspiration Of the
common people. The work was faI
from perfect, but striving to tget al
the heart of things he achieved q
marvellous distinction considering hi:
place and time. He introduced
morality into art" The young girls
whom he loved to paint are as pure
as they are beautiful, and though he
accomplished no great reform by his
special principles he prepared the
way in connection with Joseph Nier
for the mission of the Independent
and aspiring David.
Wen was noted for combining thu
study of nature and the antique, anC
forgiving his pupils power which HI
failed to compass himself. David
Jacques Louis David-had beer
placed in the hands of Boucher by :
careful guardian for proper instruc
ton and though this questionable
master was then in the full tide O
success, he had the perception to un
derstand David's finer nature an,
sent him to Wen for his initial train
ing.