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Story oi Modern Art people, going the whole way, to the opposite pole from intel- lectual understanding, any activity. In would have case, the angrily proper response to art a spiritual all aroused conscious mind acts as a bar to deeper response, and the Medusa induced mental rather than aesthetic excitement. The first showing of The Rait of the Medusa was, new method mark, identifying the exact point at which a in France. But it was not mark a of art appeared main turn into identifying the slope.

Theodore Gericault had made up his mind to be himself at any cost even his unpleasant self to express his own emotion, to deny neo-classicism and — — David and the Institute. Baron Gros, whose had developed He had early idol got his insurgency a Rubens he had copied. a liking for Caravaggio, the violent little, no doubt, from Then inexplicably he and tragic realist of Naples, and for Salvator Rosa, the Byronic adventurer and painter-bandit who had been mostly it was seventeenth century. But art in the his that was to blame.

Rene Museum of Art) CoUection oi (Courtesy Metropolitan Antonin, Toulouse Curiously, David in Brussels was able to guide, through his lieutenants, the course of French art for a decade longer. Chief of his helpers, once a pupil, was Antoine-Jean, Baron Gros, He was decidedly of those who accepted the rules of classicism but internally warred with them. In his later years he did his best to be elevated, pure, and remote. But he never quite got over his early passion for Rubens, the most heated and un- classical of master-painters.