File:Henri Regnault (1843-1871) Exécution Musée d'Orsay, 1870.jpg

Identifier: artoflouvreconta00pott (find matches)
Title: The art of the Louvre, containing a brief history of the palace and of its collection of paintings, as well as descriptions and criticism of many of the principal pictures and their artists
Year: 1905 (1900s)
Authors: Potter, Mary Knight, d. 1915
Subjects: Musée du Louvre Painting
Publisher: Boston, L.C. Page & company
Contributing Library: Harold B. Lee Library
Digitizing Sponsor: Brigham Young University

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he pool of blood under his victim. Standing on themarble steps of the Abencerrages of the Alhambra, isthe immensely tall and muscular Moor, wiping withperfect nonchalance the blood from his yataghan. Hishalf-closed eyes glance with a sort of lazy curiosity at hisbloody work, and his whole body is held quietly at ease,no sign of tension or of disorder in his pose or ex-pression. Below him on the steps in a heap just as hehas fallen, lies the headless trunk of his prey, and, astep lower, is the fearful head with its bulging eyesfrom which the terror still glares. Connecting head andbody are the dripping pools of blood. So realistically horrible is this picture that womenhave fainted on seeing it. The colour-scheme is rich,vivid, the composition masterly, the drawing superb.Whether such a subject belongs properly to the domainof art, or if belonging can by its subject take high rank,is a question perhaps, for individualistic answer. Atleast it is the sort of subject Regnault revelled in.
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EXECUTION WITHOUT JUDGMENTBy Regnault Salle t>enrf HI* 333 Though a wonderful portrait-painter, his forceful, puis-sant, tumultuous nature expressed itself with a perfectfever of abandonment in scenes of carnage, of riotouscontortions, of sinister meaning, of all things out of thecommonplace. The Interment at Ornans by Courbet was given tothe Louvre by the artists sister after his death. At thetime of its first exhibition it raised a tremendous stormof opposition. It was claimed that it ridiculed a solemnoccasion, that it was a sort of comic opera on themesbest expressed by a dirge. Low, vulgar and disgustingwere the epithets oftenest hurled at it. To-day this allseems strange enough. The funeral service of whichthis is a picture, impresses us as a very real transcriptof every-day, country life, painted with a truth toensemble and detail. With no rude irreverence or frivol-ity, it has also no mawkish sentimentality or forcing ofsolemnity. Actually the people represented were por-tr

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