The Louvre does not keep two hundred paintings dating from the golden age of painting in england (1720-1850). But, by Jove!, the Museum of the Luxembourg currently clears by hanging a beautiful and meaningful selection of the Tate Britain. We can see in tables touting the colonies without much interest other than historical. Are also shown in a central niche with a dozen watercolours, which is far too little for a country which was the promoter of this medium (our Delacroix came form there).
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it’s Much more interesting are the large portraits. Ladies, the powerful and the children lined up like an armada ready to fire. All have an air of eccentric and refined and are treated as such. All are imbued with a nobility intimidating, although it comes across to those rails a majority of the members of the high bourgeoisie of entrepreneurs.
As a final side-splitting, some other landscapes are obvious, because they are of very large size and fall under this kind that is born and is called the sublime
In their wake, landscapes. Those of England is still predominantly rural, the less consistently sung as a green Arcady: the banks of the Thames, valleys, grassy Kent or palladian villas of Yorkshire. No doubt, for the artists as for their patrons, their island is the new Rome. Here again the animals that inhabit this paradise. All necessarily breed: horses of Stubbs, cattle dogs, fox-hounds, greyhounds,…
and Then, as a final thundering, a few other landscapes are obvious, because they are of very large size and fall under this kind that is born and is called the sublime. And the hilarious The Destruction of Pompeii and Herculaneum John Martin, a sort of Cecil B. DeMille before the letter. World glowing flashes and embers. Revelation of 1822 where the romantic black is already at its peak. It will like or not this abundance of effects, but we will not remain indifferent in front of such scenes, which, alongside the interpretations of occultists signed Fuseli, Turner, or Romney poets, the most revered – the Milton, Shakespeare hoisted up to the height of Homer and the Bible, express first the passionate desire to give birth to something original, something of a genius that is strictly local.
The course is summed up well in the birth and vitality of the early decades of the Royal Academy of Arts. In this institutional field, the British have certainly not drawn the first. Our Academy of painting, the company in charge of designing and promoting an aesthetic national, was already old of more than a century (1648, thank you Charles Brown) when their was founded.
It took to this land often isolationist that it abolish his law to ban imports of foreign works so that it integrates with the trade of modern art
The reason? Let’s say to simplify that Albion was the first amateur theatre (thanks Shakespeare). And then, it took to this land often isolationist that it abolish his law to ban imports of foreign works (1695) so that it integrates the modern trade of the item Previously, only monarchs could afford to hire a master abroad. And Holbein, who was recruited by Henry VIII, and then Rubens and his best assistant, Van Dyck, by Charles I. These two painters have undoubtedly left their mark.
Quickly in the late Eighteenth, a taste is developed, defined by its roots – the portrait rather than the stage of history or in the bible. That one is in a bust, by foot or in a group, they demonstrate a acuity new psychological and a sense of immediacy very modern. Compete where Reynolds and Gainsborough. And is needed later a Lawrence romantic. Stimulated by the new science of “connoisseurship”, the collections are expanding and exhibitions while the audience grows and that the reign of George III, the king who devoted much of his personal fortune to the Royal Academy, is distinguished by its creativity. Mission accomplished.
The golden age of painting English the Museum of Luxembourg,19, rue de Vaugirard (Life). Tel.: 01 40 13 62 00. Opening Hours: Open Everyday. from 10: 30 to 19h, lun. up to 22h. Until 16 feb. Cat. : NMR, 223 p., 39€.
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