Evening star., 1960-11-13

monuments III FRANCE CreaCeu
during that era.
One hundred and sixty-Six
paintings, drawings, sculp-
lures and tapestries have
been lent by more than 40
of Frances provincial mu-
seums, exceptionally rich in
art treasures; by the Louvre
and the Chateau of Versailles,
by 10 churches and 3 Ameri-
can museums. These MASTER
pieces cover the period from
the death of Henri w in 1910
to the death of Louis XIV
los years later. The exhibit
ton is preserved in a cata-
logue 1.-THE Splendid Gen.
tury" ($S) with a preface by
the directors of the Nation
al Gallery, Toledo and Metro
politan Museums Of Art,
which will show this collec-
tion next year; a foreword
by Edouard Morot-Sir, cul-
tural counselor to the French
Embassy in the United States,
and an admirable historical
and critical introduction by
Theodore Rousseau, jr.. the
Metropolitan's curator of
paintings. The body of the
catalogue gives biographical
data on the artists, and a
reproduction of nearly every
work.
Complexities
Various markedly different
tendencies in 17th century
French painting make it more
complex than that Of the
18th century. which appears
predominantly decorative, In
the 18th. the theme Of a
painting and its emotional
impact were more important
to beholders than technical
excellence per Sc.
Many French artists went
to Rome in the 17th century
to study classical antiquity
and the Renaissance. The two
greatest, Nicolas Poussin and
Claude Lorrain, spent their
lives there. Six paintings by
Poussin provide a comprehen-
sive view of his serene, order
iy compositions and a range
of his themes, religious.
NEUROLOGICAL, philosophical
and allegorical. Claude's four
landscapes and seaports with
incidental figures and far
reaching light-filled skies.
have nobility and a nostalgia
look at the past.
Italy's Caravaggio had a
tremendous influence on some
of the expatriate French
painters. Simon Vouet's vital
self-portrait reveals it. After
Is years, he returned home to
give the coup de grace to the
Mannerist survival, and Gre
ated an official, baroque style
which was immensely sue
cessful. His pupil, Charles lie
Brun, represented with five
paintings in the exhibition,
subse equen y became the
courts favorite painter, and
being blessed with fabulous
talents for organization. he
directed every field of the arts
in official circles.
Realism
Still another tendency in
17th century French painting
was renewed by Caravaggio:
Realism. Georges de La Tour
and the LIE Main brothers are
seen here in vivid groups Of
paintings. Five by La Tour
depict peasants. some inter-
preting Biblical themes, in
quiet interiors softly illumi-
mated by candlelight, which
nevertheless reveals the sub
jects clearly. Five paintings
by the LIE Mains also depict
peasants. with simplicity and
dignity.
While French painters
Travelled abroad, other Euro
pean painters went to France.
Philippe de Champagne, a
Fleming, became an ultra
French painter, with the
patronage of the court, and
of Cardinal Richelieu, of
whom he painted several por-
traits. one of which is here.
Toward the end of the 17th
century, Hyacinthe Rigaud
became a court painter; his
formal baroque style devel-
oped into greater naturallsm
and led the way into the next
century in portraiture.
The sculpture, drawings
and tapestries will be re-
viewed later. AS we look at
the brilliant paintings here,
We might ponder the last
sentence in Mr.. RouSSeau's
introduction: 1--WE may we'll
ask ourselves if we in the
10th century have not gone
too far in considering a
painting as nothing more
than color and form ar
ranged on a canvas" rather
than something to stimulate
our minds and exhilarate our
spirits"