Egyptian Art by Wilhelm Worringer

By Wilhelm Worringer

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Spreiregen, London. Ruthless political oppression and a rigid censorship, muzzling the liberal press and prosecuting authors such as Flaubert and Baudelaire, represented the shadow side of a regime that fa\ored industrial progress and endeavored to make France once more one of Europe's leading powers. In the summer of 1859, after the victorious end of the Crimean war and a successful intervention against the Austrian yoke over northern Italy, the French ruler felt secm^e enough to proclaim an amnesty for all political exiles.

I them through. Make some copies in the Louvre. ' " And Monet added: "My parents have decided to let me stay a month or two, in accordance ^\•ith Troyon's advice, who urges me to draw hard. ' This has been approved by my parents. " But no\v he does give a detailed account of the Salon, which he has revisited several times. " He is happv to state that "marine paintings are is severe to\vard a painting by 40 Monet: Still Life, c. 1859. 16 x 23+". " He "he's a Boudin. Art Institute of Chicago (Gift of Leigh B.

1857. Etching, 9 X 51". - of Art, ^Vashing- D. C. X. Rosenwald Collection). "-'-» It is not known how Degas replied to this admonition, but it is true that his early works follo\\ed more closely the example of Ingres than that of Delacroix. \Vhile he Degas showed from the beginning and highly cultivated artist, raised in a home where questions of art — particularly music — were intelligently discussed; Pissarro's first paintings, on the other hand, still betrayed a somewhat "provincial approach" of which only Paris could rid him.

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