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In Rome Balzac purchased a Sebastiano del Piombo, a Bronzino and a Mierevelt, he hunted up some Hobbemas and Holbeins, he secured a Natoire and a Breughel, which he decided to sell, as it proved not to be genuine, for he wanted "pictures of the first rank or none at all"; furthermore, he brought back to Paris a Judgment of Paris, attributed to Giorgione, a Greuze, a sketch of his wife, a Van Dyck, a Paul Brill, The Sorceresses, a sketch of the birth of Louis XIV representing the Adoration of the Shepherds, an Aurora by Guido, a Rape of Europa, by Annibale Carrachio or Domenichino, and there we have the beginning of his gallery such as he described it in Cousin Pons.

While I served my time in the galleys of the law, when I was cooped up for eight hours out of the twenty-four with nincompoops of the first water, I saw queer characters enough to convince myself that all is not dead-level even in obscure places, and that in the flattest inanity you may chance upon an angle. Yes, dear boy, such and such a philistine is to such another as Raphael is to Natoire.

In the last century, the worthy Natoire, one of the fantastic masters nowadays despised by the stiff school, having got drunk many times in this wine-shop at the very table where Regnier had drunk his fill, had painted, by way of gratitude, a bunch of Corinth grapes on the pink post. Hence the name of Corinthe. Nothing is more natural to drunken men than ellipses.

Charles Coypel had gained fame by a set of hangings in which scenes were taken from Don Quixote. Oudry asked himself why he should not rival them at Beauvais. The result was a similar series, but composed by Charles Natoire, the artist who had drawn a set of Antony and Cleopatra for the Gobelins. The same idea extended to the furniture coverings which ran to this design as well as to the Fables.