PRINCIPAL WORKS: All the painters mentioned in this chapter are best represented in the Louvre at Paris, at Versailles, and in the museums of the chief French cities. Some works of the late or living men may be found in the Luxembourg, where pictures bought by the state are kept for ten years after the painter's death, and then are either sent to the Louvre or to the other municipal galleries of France. Some pictures by these men are also to be seen in the Metropolitan Museum, New York, the Boston Museum, and the Chicago Art Institute. CHAPTER XIV. FRENCH PAINTING. THE NINETEENTH CENTURY (_Continued_). BOOKS RECOMMENDED: The books before mentioned, consult also General Bibliography, (page xv.) THE LANDSCAPE PAINTERS: The influence of either the classic or romantic example may be traced in almost all of the French painting of this century. The opposed teachings find representatives in new men, and under different names the modified dispute goes on--the dispute of the academic _versus_ the individual, the art of form and line _versus_ the art of sentiment and color. With the classicism of David not only the figure but the landscape setting of it, took on an ideal heroic character. Trees and hills and rivers became supernaturally grand and impressive. Everything was elevated by method to produce an imaginary Arcadia fit for the deities of the classic world. The result was that nature and the humanity of the painter passed out in favor of school formula and academic traditions. When romanticism came in this was changed, but nature falsified in another direction. Landscape was given an interest in human affairs, and made to look gay or sad, peaceful or turbulent, as the day went well or ill with the hero of the story portrayed. It was, however, truer to the actual than the classic, more studied in the parts, more united in the whole. About the year 1830 the influence of romanticism began to show in a new landscape art. That is to say, the emotional impulse springing from romanticism combined with the study of the old Dutch landscapists, and the English contemporary painters, Constable and Bonington, set a large number of painters to the close study of nature and ultimately developed what has been vaguely called the FONTAINEBLEAU-BARBIZON SCHOOL: This whole school was primarily devoted to showing the sentiment of color and light. It took nature just as it found it in the forest of Fontainebleau, on the plain of Barbizon, and elsewhere, and treated it with a poetic feeling for light, shadow, atmosphere, color, that resulted in the best landscape painting yet known to us. [Illustration: FIG. 64.--COROT. LANDSCAPE.]