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Updated: May 10, 2025
Undoubtedly most of the examples of the so-called Franco-Flemish school which formerly hung unquestioned among collections of Flemish paintings, did when massed together, as they were in 1904 in the Pavilion de Marsan, display more or less well-defined extra-Flemish characteristics a modern feeling for Nature and an intimate realism in the treatment of landscapes, a freer, more supple and more vivacious drawing of the human figure reasonably explained by the theory of a school of painters expressing independent local feeling and genius.
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