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Show ple his plates to the considerable enhancement o their picturesque effect There are, of course, exceptions to this general rul of nineteenth century etching,which places huma interestrelativelylo in the scale of aesthetic values Amongthese themostnotableare Milletand Legros The former's noble and significant peasant figure rank easily among the highestachievements of th artin any period,while many of Legros' figure compositions are also very fine, especially that macabre Rembrandtlike plate, La Mort du Vagabond,whic suggests-perbaps was suggested by-Baudelaire's bizarre, powerful poem, La Charogne Rappelez-vousTlobjetque nous vimes,moname Ce beau matin d'été si doux Au détour d'un sentier une charogne infam Sur un lit semé de cailloux Millet left no immediate school; Legros, however ‘who taught so long in England, has had numerou imitators, mainly in that country; and in general without mentioning living men, one may note, a long wit landscap more an ebbingo a patent exhaustion of the conventiona and architectural motives, which ten more to mere monotonous repetition (a the initial romanticimpulse),a marked re vival of interes in the etchin of figures Certainly, viewed from the historical standpoint nothing could be more logical or legitimate, For th Digital mage© 2005 Marriott Library University of Utah, All rihts reserved |