Emilia Francis Strong Dilke

Biographical details

Emilia Francis Strong Dilke 1911 Encyclopædia Britannica, Volume 14… (1911)

The points on which Chaussard justly lays stress are the strange discordances of colour—such as the blue of the cushion against which Mme Rivière leans, and the want of the relief and warmth of life, but he omits to touch on that grasp of his subject as a whole, shown in the portraits of both husband and wife, which already evidences the strength and sincerity of the passionless point of view which marks all Ingres’s best productions.
Source: Wikisource

Emilia Francis Strong Dilke 1911 Encyclopædia Britannica, Volume 14… (1911)

There Bartolini, an old friend, had hoped that Ingres might have materially bettered his position, and that he might have aroused the Florentine school—a weak offshoot from that of David—to a sense of its own shortcomings. These expectations were disappointed. The good offices of Bartolini, and of one or two other persons, could only alleviate the miseries of this stay in a town where Ingres was all but deprived of the means of gaining daily bread by the making of those small portraits for the execution of which, in Rome, his pencil had been constantly in request.
Source: Wikisource

Emilia Francis Strong Dilke 1911 Encyclopædia Britannica (1911)

The brilliant reputation which Greuze acquired seems to have been due, not to his acquirements as a painter—for his practice is evidently that current in his own day—but to the character of the subjects which he treated. That return to nature which inspired Rousseau’s attacks upon an artificial civilization demanded expression in art.
Source: Wikisource

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