Czére Andrea szerk.: A Szépművészeti Múzeum közleményei (Budapest, 2008)
ANNUAL REPORT • A 2008. ÉV - ZSUZSANNA GILA: Lines of Beauty
•AN-HONORE FRAGONARD, CHILD WITH A CAT The exhibition entitled Lines of Beauty spans the period from French mannerism, rooted in the Fontainebleau School, to JacquesLouis David's severe and stark Neoclassical style. Important works of two centuries broken down by styles and authors were placed between the two endpoints of the timeline and French classicism was given a prominent role, reflecting its importance in art history. The exhibition highlighted the fact that Nicolas Poussin, the leading artist of the style, who was active outside his homeland throughout his career —just like Claude Lorrain, the great master of the classical landscape —had a huge impact all across Europe during his own lifetime: his art was exalted by the Academy of Painting and Sculpture in Paris and his intellectual approach remained influential until a new generation of artists emerged after the so-called colour dispute. The exhibition's timeline was continued with French baroque in the age of absolutism, which was by far more restrained than its Italian version and was "imported" to Paris by Simon Vouet. Summoned by Louis XIII, Vouet returned to Paris from Rome, opened his workshop and took part in the foundation of the Royal Academy of Painting. The iconic figure of French baroque was Charles Le Brun, Louis XIV's first painter, whose allegorical portrait made of the king's triumphant return from the Flanders campaign was included in the exhibition along with some of his other works. The young Le Brun was Poussin's student for years: he was influenced by the same psychological drive (like generations of his successors) that had fuelled the desire of artists before him, namely the allure of Rome. The French Academy in Rome, established in 1666, offered three-to-fiveyear state grants to aspiring artists they deemed worthy of their support. The prestigious stipend was won for example by Fragonard, Watteau, David and a lesser known but exciting artist with a romantic vision, called Le Bouteux, who actually disappeared without a trace in Rome. The sheets of the par excellence French style, rococo, included the most beautiful drawings of the Louvre collection, namely W 7 atteau's gracefully drawn figure and head studies, as well as
