Evening star., 1942-03-08

its many turningS, changed art from
what it had been for several CEN
turtles to what 1t is today.
During the reigns of Louis XIV
and XVI art had been gay. even
frivilous, but as the latter wore on
the black clouds of revolution ap-
peared on the horizon and there
were nlurmurs OF discomfort IN art
circles. Louis David, the pupil OF
Boucher, in an endeavor to turn the
tide, became the apostle OF classi-
cism in all its severe simplicity, even
modelling his painting on the sculp-
ture OF the Greeks to give it dignity
and strength. Gerard, Gros and
fnsres were his followers, each in
serpreting his theories individual
stically, Gerard most closely, Gros
with more fire, and Ingres with
greater sense of rhythmic beauty
Then came the Napoleonic era, with
its trumpets and parade, so appeal
Ing to the imagination, which artls-
tically found expression in the rise
Of the romantic school, best repre-
sented by Gericault and Delacroix.
When life ceased to be pictur-
esquely romantic, the painters turned
to history or literature for their
themes, and from these, strangely
enough, back to nature. The mid
die of the 10Th century saw In
France the rise of a great school OF
landscape painting-that OF the
Barbizon painters, which was In its
inception sincerely lyrical, but later
became realistic. Corot, Daubigny,
Rousseau painted what they saw
with emotional reaction to beauty;
Millet, moved by the life which he
saw around him. became the inter-
prefer Of the French peasantry IN
their actual relation to the soil.
Gradually the painters became
more self-conscious. Manet de-
clared that it was not the thing
itself which should be represented,
but rather the impression 1t created
on the observer. Interest began to
center in painting as an art-a
means of personal expression. Re-
noir and Degas rendered their i'm
pressions in a painterlike way with
great individuality and often much
beauty. Monet found way to paint
sunlight SO that it would have an
almost binding reality. But when
the fire Of imagination burns low
Invention is apt to attempt to take
its place. It was when this point
was reached that Gauguin came
upon the scene. Cezanne began the
struggle to realize" something which
he neither understood nor could
explain, and Van Gogh lost his mind
seeking a truth that ever evaded
him. The chaotic world OF today
came into being and its battle Is
now being fought.
So much for background. Turning
to the paintings themselves, which.
incidentally, fill six galleries, there
is much here to enjoy because OF
intrinsic interest. In the first gal
lery entered, occupying the center
of the end wall Is Gerard's famous
portrait Of Nine Recamier from the
Prefecture de la Seine, Paris, very
similar in style to that by David IN
the Louvre, and likewise reproduced
In almost every important book on
French art. 1t is a lovely canvas,
but perhaps a little thinly painted
and cold, by no means pulsating
with life. OF the classical school
this was. however, characteristic.
In this same gallery on a side
wall hang several paintings by David,
showing him not only at his best,
but in more than one mood. Among
these are his famous portraits OF
Pope Plus VII and M. Philippe
Laurent de Jourbert.
Opposite hangs the painting by
Gros of Napoleon at the battle OF
Arcole, November. 1796, lent by the
Museum of Versailles, which pictures
him at the dramatic moment when
he seized the flag and led his grena-
.diers to victory. This canvas, exc
icuted at army headquarters In Italy.
is only one of many by Gros glor1-
fying Napoleon, to whose attention
he was brought by Josephine. His
"Battle of Eylau" is also included in
the collection.
: Gericault's study for his we'll
known Raft of the Medusa" Is here,
and of very great interest. as Is an
admirable portrait by Ingres OF Nine.
Gonse, an amateur artist and his
pupil, painted with beautiful perfec-
tion, but a rather Photographic i'm
mobility.
There are two very interesting
portraits Of the same person, M.
Alfred Bruyas, a French art patron
Of distinction, one by Delacroix and
the other by Courbet. very surpris-
ingly similar. Courbet Is also repre-
sented by a snow scene, Wood
gathering in Winter" and La
Siesta," a very large canvas setting
forth a landscape with cattle and
firures in the foreground, probably
assalon picture.
There are two or three charming
little landscapes by Corot. which
evidence his gentleness Of character
aid mate love of nature and, also,
what Is less usual by him, small
nude.
Landscapes by Daubigny are hung
close at hand and are found to be in
accord, for he, like Corot, had a
lieht touch and was ever eager to
open the eyes Of others to beauty
which had been disclosed to him.
Rousseau is seen in bolder manner
but no less truly Interpreting the
scene before him. He is at his best
In a painting of a bit of the forest.
tall, close e-growing oak trees, with
ciean-cut foliage.
Opposite the large canvas by
Courbet is one of approximately the
same size by Pissarro, presumably
an early work, a picture of a vii
iage on . hillside, realistically rem
dered.
sMillet Is here in q characteristic
painting of a shepherdess with her
flock returning home toward close
q day when the evening glow illu-
mines sky and earth. Less usual is
hs portrait Of Marine Officer in
Uniform" painted in the manner
~ De9as when he was most literal,