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century sculpture
19th
is
the largest
we can
still
monumental sculpture
ideals as
it
Now
it
is
being
and
critics
art
historians.
Maurice Rheims, also the author of The Flowering ofArt Nouveau, is an acknowledged expert on
French art who has recently been elected to the
distinguished Acadmie Franaise. No one could
better inspire a fresh appreciation of these realis-
and detailed 19th-centur>' works from twentythree countries. He selects sculptures by great
tic
artists
others
who
times hilarious
in their effects.
The
some-
great person-
The works
are
in
the Streets,
Art, and so on
for each one.
and
Thef
sh.
a catalogue
bibliography ano
the volume.
683
illustrations, including
,:^.
10 hand-tii
Animal
provided
empite
19
CENTURY SCULPTURE
19
CENTURY
SCULPTURE
MAURICE RHEIMS
TRANSLATED BY ROBERT E.WOLF
XIX^
sicle.
Bibliography: p.
Includes index.
1.
I.
Sculpture,
Modem
Title.
NB197.3.R4513
ISBN 0-8109-0375-X
735'. 22
75-39871
Number: 75-39871
No
New York
book may be reproduced without the written
Gravure
illustrations
Text printed
Bound
in
England
in England
CONTENTS
Introduction
Neoclassicism
15
2.
Romanticism
41
3.
David d'Angers
77
4.
85
5.
Carpeaux
101
6.
Symbolism
107
7.
Pre-Raphaelites
8.
137
9.
165
10.
181
1 1
193
12.
225
13.
Decorative Sculpture
237
14.
Portraits
249
15.
Caricature
285
16.
Animal Sculpture
293
17.
315
18.
Funerary Art
329
19.
Sensualism
361
Art Nouveau
377
20. Kitsch
.
22.
Precious Materials
125
Bizarre
389
405
Bibliography
417
Index
419
Acknowledgments
431
Photographic Credits
433
INTRODUCTION
Then, while busying himself with lighting the stove,
he
set to
What
and
in
some
3000 Jrancs
it
to
better time
cost
oj
it.
be stuck
away
wasn't room for
it.
There
still
mind!
Jew
busts,
a statue knocked out cheaply once in a while to be paid for by public subscription.
arts, the
but the artjrom which you were surest to croak Jrom hunger.
M1LE ZOLA,
L'Oeuvre
The
rise of a
men.
than a hundred
play pieces erected to the glorv of the heads of state and famous
France had
known
less
years,
and was determined not to neglect the persons who had contributed to those mutations. It
was important that their appearance be made known and the account of their exploits engraved on bronze and on marble. This could best be done, it was thought, by a bust poised
on a column at whose foot nude persons symbolized Freedom, Glory, Poetry, Victory,
Electricity, Gas, Bicycle Racing, or The Four-cylinder Automobile.
Monuments to the war dead began to be erected the day after France's glorious defeat
at the Battle of Sedan in 1870. Also the faades of buildings, always a pretext for elegant decorative work, were offered to the ornamentalists' chisels between 1860 and 1910 more than
four hundred stonecarvers could be counted in Paris.
It was a splendid time for the arts, but difficult to judge in its entirety
like the Renaissance, it was a transitional epoch that also contained many contradictions. But the medieval
world had disappeared in fewer than thirty years of the sixteenth century, \\ hile the decline
of academicism in the nineteenth century took a very long time. And during these years our
great-grandparents witnessed moreover the triumph of Romanticism, the maturing of Realism, the birth of Impressionism. And there are other obstacles in the view of anyone wishing
to study the history of a discipline in a given period: for example, it is not easy to separate
out those works that should still be classified with the era preceding nineteenth-century
sculpture, and those that belong, as the year 1900 approaches, with twentieth-century art.
At the start of the century Bartolommeo Cavaceppi and Giuseppe Angelini in Italy,
Dannecker in Germany, Shchedrin in Russia, Jos Gins in Spain, and many others, from
Belgium to Austria, still belonged to the rear guard of classicism. Houdon, however, is more
difficult to place with relation to Canova than one might think. For the most part Houdon is
thought to be an eighteenth-century man. His name is used here only to point out the new
:
method of
a sculptor of the
The
work corresponds
is
who
often a
same period,
While the work
lived in the
is
of Delacroix's
more than
to our idea of
painters, are
bound
and thus inclined to a certain caution. David d'Angers, who was viewed by his contemporaries
as a Romantic, remained nevertheless decidedly prudent (he was scarcely what we would now
call a "committed" artist). Franois Rude, on the other hand, was reproached by the Romantics with inclining toward a disturbing realism, though often he was merely a Neoclassicist
swept by the winds of Romanticism. Carpeaux's contemporaries were divided; they admired
him, but with reservations for some critics he remained, even more than Houdon, a man of
the eighteenth century for others he was a realist who willingly slipped toward the licentious.
:
The
more
than did medieval Paris, whose bell towers and picturesque vagabonds were dear to the
end of the century appears still more complex. Some writers claim
Rodin as the last of the Romantics, others hail him together with Medardo Rosso as the
inventor of Impressionist sculpture. The works of the German sculptors surprise us by their
romanticism (small letter) tinged with Wagnerian symbolism; likewise, we are disconcerted
The
situation at the
INTRODUCTION
by Maillol's abrupt return to Greek sources, and that of the Scandinavian sculptors in the
latter half of the nineteenth century. Thus it is useless and dangerous to insist on pigeonholing these artists into specific styles, because our own sensibility toward works of the
past continues to change from one generation to the next. Likewise we must be particularly
vigilant when now, a hundred years later, we find ourselves contesting not only the opinions
of connoisseurs and critics during an artist's lifetime, but also those of the artist himself concerning his own works. The reader examining the works in this book will be the best judge of
the ambiguity posed by many of the illustrations.
The material requirements that accompany the sculptor's work explain in part the slow evolution of that art as compared with painting. A sculptor demands certain financial resources,
while the working budget of a painter is generally minimal. The realization of a sketch into
marble demands a sizable investment tools and materials make a sculpture an expensive object
:
when
it
comes
is
to the arts.
Such reasons may have caused "advanced" artists finally to choose painting in preference
to sculpture, deciding that they could express themselves more easily in this way. When painters have made sculptures it has been "to keep their hand in," so to speak. Convinced that no
one would ever be interested in their experiments and unable to pay the costs of casting, such
painter-sculptors usually contented themselves with modeling in clay or plaster. It was in that
spirit that Gericault sketched a few pieces of sculpture for this reason Daumier's plasters,
now counted as masterworks of caricature, lay around neglected for years in a corner of his
studio. Considerably after his death certain amateurs, encouraged by the steady rise in prices
of Daumier's lithographic work, engaged Susse and Rudier to make casts of the sketches.
A result of these difficulties was that throughout the century many young sculptors continued to live as in the days of the guilds they remained for years in the service of a master,
acting as his assistant and filling the role of what is called in France a praticien. In this way, assured of a living, they could become initiated into the secrets of making casts and of founding.
The apprenticeship was a hard one it involved long hours on scaffoldings clamped to the
fronts of churches and buildings. The fourteen-year-old tex was kept at work by his master
in near-freezing weather: "I made Gothic capitals along with ornament carvers, crude types
whose habits inspired me with profound repugnance."
The respect inculcated by the professors of the cole des Beaux- Arts for Great Principles
and Grand Genre also imprinted on the mind and retinas of young students a conventional view
of the exercise of the plastic arts that went beyond the academic concepts. Painters and sculptors were expected to be equally proficient in both arts. For a long time Ingres insisted that the
young Etex, a brilliant Beaux-Arts student, should devote himself to painting rather than
;
sculpture.
Their apprenticeship completed, the young sculptors had two choices either to set
themselves up on their own or to resign themselves, by remaining attached to their master's
fortunes, to being considered only the equal of an artisan. Newspapers, literature, and memoirs of the time all tell us of the different social status of sculptors from that of painters. The
sculptors' merits were conceded, their manual skill praised as much as that of a blacksmith,
but unless they became recognized as great masters they had to submit to the caprices of fashion
and the demands of their clientele. When Fremiet's ^oan of Arc had already been installed and
inaugurated in 1874 on the Place des Pyramides in Paris, the sculptor, sensitive to the criticisms of theman-in-the-street, modeled and freshly cast a new horse for his heroine surreptitiously, in the dead of night, he replaced the humble but powerful beast of burden with a
:
10
high-stepping shovvhorse.
fatten
Who,
as
in 1960,
model
to Giacometti that he
1830 picture dealers were still few in number, and among these only two or
three consented to handle sculpture. To secure commissions the sculptor had no alternative
but to exhibit at the Salon, the onlv place he could make contact with possible purchasers. To
become "accepted" at the Salon, he had to please the members of the jurv. But those worthies, anxious to hold on to their following, ruthlesslv rejected anvthing that threatened to
upset the public's taste and habits.
Certain remarks bv Guizot, then Minister of Public Education, show well the bias in
favor of conventional art: "Monsieur Etex, when one does not rise in art, one descends."
Stubbornly the jurv, mostlv composed of professors at the Ecole des Beaux-Arts who were
members of the Institut de France, carried on a rear-guard combat against those who rejected
the "disciplines." In 1833 Romantic sculptors were admitted to the Salon, but the following
vear Fratin, Etex, and Prault found their entrv barred. In 1 8 37 Barve was excluded in 1846,
the pupils of Rude.
Louis-Philippe, the "Citizen-Kin^," plaved the role of a maecenas armed with pencil
and notebook and exuding good will, he paced the Salon looking for works worthy of enriching the national patrimony. Unfortunately his choices remained mediocre, requiring the countersignatures of Quatremre de Quincv, one of the most execrable intendants of Arts and
Public Monuments in the history of France, and Montalivet, who was concerned with
In the Paris of
first
members
honors depended on their good graces. After the July Revolution of 1830 the sculptor
Marochetti declared: "I don't give a damn about art, but in ten years I want to have a string
of decorations from here to there," pointing to the left side of his jacket.
Throughout Europe people of good society supported painting or sculpture. For some it
was an excellent means of displaying a noble-spirited Romantic enthusiasm while remaining,
at heart, profoundly reactionary. Charles Marochetti belonged to a patrician family; Henri
Triqueti, a baron, was also the son of the Sardinian king's ambassador to the court of Russia.
Flicie de Fauveau, daughter of a Breton gentleman farmer, enjoved the favors of everything
the international clientele valued most highly because throughout her life she championed the
cause of the duchess of Berrv and then of the count of Chambord. The count of Nieuwerkerke
practiced sculpture with success (he exhibited at the Salon of 842) before becoming an excellent surintendant of Fine Arts. Finally, the count d'Orsav, reputedly the most elegant man of
his century, made statuettes filled with a historical lyricism.
1
The financial situation of the sculptors w^as generally better than that of painters, though
many hired themselves out either to architects a nineteenth-century faade without some
decorative motifs is rare
or to contractors for funeral monuments. In 1825 Etex, a youth
and still unknown, could ask 500 francs for modeling a bust; when scarcely twenty-five, he
was swamped with commissions. At a ball at the Htel de Ville in 1833 he was presented to
the young duke of Orlans, who commissioned a bust from him; that year the Treasury paid
him 70,000 francs to execute two of the large trophies on the Arc de Triomphe in the Place
de l'toile. During that period Daumier was asking one franc for a drawing, Delacroix three
hundred
In
for a painting.
Rome
boom. People
traveled from
all
over the
A
"
INTRODUCTION
world to
visit
11
were
considerable.
of certain "masters" reveals the importance of their honorariums. Grome, not content with presiding over the world of painting, did not disdain on occasion to
demonstrate his talents as a sculptor. But at a price Asked to carve a Combat of the Gladiators,
The way of
life
he reserved
But these were the exceptions. For the others, who had to be both sculptors and praticiens, the work was hard and the clients demanding. Stendhal wrote to Eugne Guinot in June,
1839, about B. E. Fogelberg, whom he held in high esteem: "The king of Sweden, or rather
his minister, not much of a connoisseur, only gives 15,000 francs per statue to a man who
works every day for six years to produce two works, and this despite the fact that H. D., on
his own, offered him 50,000 francs for the two statues plus a lifetime pension of 5,000 francs.
who makes himself out as an eccentric and claims to detest his natural heir to whom
Lord P
he wishes to leave the least possible sum, proposed to rent the Swedish sculptor's statues for
10,000 francs a year, and paid for the first four years in advance. But M. Fogelbert [sic] refused
everything out of respect for his prior engagements and love of his country."
Artistic life in Great Britain was much harsher than on the Continent. In 1848 Etex, in
London in the hope of expanding his clientele, reported that artists, among them Frenchmen
settled there for fifty years, were literally dying of hunger. Being very poor himself, he yielded
to a London merchant who promised to arrange an exhibition and turned over two of his
paintings the dealer, harassed by creditors and not endowed with scruples, pawned these for
his
own
accounts.
good will for the young Etex, rethe Prime Minister assured him of
press, full of
Most writers on the history of nineteenth-century art seem overcome with a sort of embarrassment when it comes to sculpture. After enumerating a dozen names and reminding their
readers that Canova, Carpeaux, and Rodin were geniuses and that David d'Angers had some
talent, they leave it at that, as if the plastic arts
^^
pompous
pompier''
that
word
of opprobrium which
last
12
It is
The
chapter
title
And photographs
"Why
Sculpture
is
Bor-
show
the halls of painting "black with people," while the central hall reserved for sculpture
is
empty the visitors are fewer than the personages frozen in stone or marble
who are assembled on the drab matting of the floors.
The discredit which generally befell sculptors rather than painters deprived them of the
support and interest of literary men. While Balzac, Flaubert, and the Concourt brothers
were concerned with the lot of painters, keeping a place for them in their descriptions of
society, no one, except for Zola, thought to describe that of a sculptor. Most critics gave
sculpture only a small part of their reviews, despite its importance. In their annual essays on
three-quarters
it
scarcely
more than
was too "brutal" or too "positive"; he recommends that sculptors be banned from the community of the arts whenever they agree to
collaborate on the decoration of any useful monument: for him, "a singular mystery is not to
be touched with the fingers." Further, the author of Lesjieurs du mal, along with other critics,
is already concerned with the sculptor's difficulties in finding the best position for his piece.
The viewer risks being the victim of "accidents of light" a "lamp effect" may bring out
a beauty that differs from what the artist intended; there are "so many hazardous situations
from which painters escape."
delaire evidently despised sculpture that
is
found,
as still today,
among museum
curators.
years. This
is
in the plethora of
albums published between 1880 and 1900, devoted to the Salons or retrospective exhibitions,
seem, literally, to have vanished. True, a good number of works, if only for their size and
weight, have never been shifted from the spot for which they were commissioned. But many
others, victims of changes of fashion, have found their way to the scrap metal yard, there to be
metamorphosed
To undertake
war matriel.
have to be
change in fashion dealers will then become interested in this specialty and help to raise from
the depths a large number of pieces. Some of these will surprise us by their beauty or originality museum directors will devote retrospective exhibitions to little-known great artists
and catalogue the monuments forgotten in cemeteries everywhere. Then the sculpture of that
century will be revealed in its richness and originality, as important as that in the two preceding centuries.
;
Despite the
sculptors
title
of the present book, the reader will not find here an exhaustive
who worked
of
all
the
list
INTRODUCTION
to
show
hundred-odd pages of
this
13
for even a
Rather than accumulate names and assign them more or less arbitrarily to categories
far too rigid, we have preferred to ignore their present or past reputations and to trust our
own sensibility and understanding in assigning their works to the first seven chapters on the
Neoclassic, Romantic, Populist, Symbolist; we continue in chapters
chief artistic currents
8 to 10, as the twentieth century approaclies, with tendencies often modernist and contradictorv: was Rodin a Naturalist, as he was judged in his lifetime, or a survivor of Romanticism,
or the first Impressionist sculptor? In any event, if most of the sculptures of Canova, David
d'Angers, Carpeaux, Rodin, and Medardo Rosso elude standard classifications, it is because
those great artists were more often beacons (the term Baudelaire applied to certain great
creators) than heads of schools.
In chapters 11 to 18 we shall examine the importance of sculpture in the life of cities.
Once again sculptors took up the tasks of their forebears in the Renaissance the humanizing
of public squares the enlivening of dreary faades of buildings and making the approach of
death more bearable by lending a touch of paganism to funeral monuments.
The reader may think we have given more importance to Neoclassical and Romantic art
than to the rest, or that we have been overly insistent on funerary or decorative art. Actually
the length of any chapter reflects our concern not to b^'pass certain works that we find exemplary.
Since 1880 the prodigious interest aroused by Rodin's works brought about a transformation of sculptural vision. Sculptors no longer hesitated to follow the earlier example of
Michelangelo and to present works as final that had still an unfinished appearance. Amateurs and critics of painting shared the same interest in sketches and preparatory drawings
which once were thought unworthy of public exhibition. The way was opened to the informal art of our time.
Note
it
seemed desirable
to
public or private collections but also works which have disappeared, been destroyed, or whose whereabouts are unknown but whose photographs we have
found
in the course
reader's pardon.
of our research
to specify the
a complete identity cardfor each work illustrated but to give indications which would serve as
silver
1.
NEOCLASSICISM
One who follows
others
GIORGIO VASARI.
Life
of Michelangelo
Each
nounced,
In
taste,
more or
less
pro-
for classicism.
And in the eighteenth century Greece welcomed more visitors than at any previous moment of its history, although Baroque and Rococo art remained triumphant. To each epoch its own brand of classicism.
1775, when the Romantic era was opening, Neoclassicism split into two currents:
one was severe and moralist, the other pleasant, elegant, even symbolist. The former looked
rather to Rome and the latter to Athens, but both drew upon Winckelmann and his archaeological discoveries.
Today it is difficult to imagine the surprise and amazement that attended the unearthing
of Pompeii and Herculaneum. Not unlike ourselves on the eve of moon landings, when we
succumbed to vague and indescribable hopes and awaited some revelation of a world perhaps
ours, the contemporaries of Voltaire and Lessing thought that the dead
unexpectedly brought to light would divulge prodigious secrets. The gazettes of the
time tell us about the strange hopes that were nourished.
While the Germans, fired with enthusiasm by Winckelmann' s works, built their new
aesthetic on archaeological foundations, the French amateurs such as Cay lus, and architects
such as Soufiflot, wished themselves rather to be descendants of Plutarch.
The idolatry of Antiquity then already three centuries old reflects a number of motivations, often contradictory. Elegant society in the eighteenth century professed a taste for
the Beautiful and the Grand Style that brought with it certain advantages. The prince or general posing for his portrait willingly dressed himself up in a toga or Roman cuirass. For fear
of revealing to the world what might be the scrawny or pudgy figures of their wealthy sitters,
familiar to their fingertips with the canons of idealized Nature
the sculptors
were always
ready to supply a change of body, like the costumers in a theater. Bodies, in fact, were considered by portrait sculptors to be much the same as pedestals, and the sculptor was expected
to transcend the physical traits of his models.
Moreover, the lively success enjoyed by Antique symbolism was not unrelated to the restrictions imposed by censorship the crowds swarming to the Salons delighted in the academic spectacle
that is to say, the nudity. This appetite for the Beautiful and the Grand Style
was so contagious that its effects may be verified from Moscow to Philadelphia. Russian
sculpture remained for a long time, indeed until the October 1917 Revolution, under the
influence of Neoclassicism. Shubin, Kozlovski, or Shchedrin could have exhibited in the
Paris Salons without anyone being aware of anything foreign. Under the Tsars the taste for
everything that came from Paris was so well established that the Muscovites treated Russian
sculptors with disdain, even if the sculptors had studied with Lemoyne, AUegrain, or Pigalle.
When Shubin, as we read in the travel book published in 1796 by Count Alphonse Fortia
de Piles, was deprived of a studio he had to make do with scarcely more than a closet. His
clients paid him a miserly hundred rubles for a bust though the partially cut block of marble
cities so
15
16
cost
him
match
for
was funeral monuments; it was said of han Martos, an artist difficult to classify as Neoclassical or Romantic, that he "made the marble weep," and according to Louis Rau his
funeral monuments peopled the cemeteries of the Monastery of the Virgin of the Don at
Moscow and of the Alexander Neysky Monastery in Leningrad.
tors
century to the Romantic era, proyes to be most complex. Was Houdon, who suryiyed four
rgimes, a Neoclassicist or already a Naturalist? In the faces of his portraits we may read only
what his clients wished the world to see persons of elegance, conscious of their position,
who
refused to say
much though
own
successful alliance of elegance with sensualism, while feigning the appearance of a paragon
of classicism.
nature.
riyal
ancient city.
In France, contrary to logic, the reyolutionaries
showed themseKes
as
more
classicistic
Rome
symbolized the Republic and its yirtues. To the poor souls posing for posterity it was thought good
form to assume an expression in which perspicacity vied with severity. Under the Empire,
and later the Restoration, women before posing had their hairdressers curl them up la Cleopatra, Vestal Virgin, or Amazon. The toga was indicated for clean-shaven men or those with
full faces; for thinner men, the uniform or frock coat.
This taste for classical art persisted throughout the century. It corresponded sufficiently
with what elegant gentlemen sought as well as the man in the street: something handsome,
lofty in manner, and with a good likeness. Is that not what Thophile Gautier appreciated in
sculpture, "the most serious of the arts," when writing about the portrait of Soufflot by JeanPierre Dantan in the Salon of 1845? And likewise Baudelaire, on the same occasion, wrote
that "Dantan has done some fine busts, noble in manner and evidently good likenesses."
In Germany and as far north as Scandinavia entire cities were remodeled l'antique,
perhaps because countries less favored by the sun feel a certain nostalgia at the thought of the
Mediterranean world. Let us suppose .Munich had been buried at the end of the last century
by an earthquake and unearthed two millennia later: what archaeologist would not conclude
from those proud ruins that Bavaria had been ruled by the descendants of Roman occupants,
having remained a pagan state until the twentieth century?
The illustrations to this chapter will convince us of the desire of Neoclassical sculptors
to reproduce perfect anatomical forms. It is true that too much perfection dehumanized their
subjects, draining
all
them of
all
To
achieve these the sculptor had to shift the gaze of his godlike or elegant personages; their eyes
turned toward Heaven or averted to the side, they disdain to catch the viewer's glance. Per-
NEOCLASSICISM
haps
it is
17
the same concern for isolation that makes the artists sometimes
wrap
their subject in
deep sleep.
mav be
Mercury Fastening
his
Winged Sandal, the reader will understand better the motives that
lie
except through ancient descriptions. On the other hand, our museums and collections
have sheltered thousands of masterpieces of ancient sculpture since the Renaissance. Surrounded bv all these models, Neoclassical sculpture was proud of its genealogy, over two
thousand years old, and held out against the modernists. Such prestige troubled the more
enlightened men. Around 1816 the confusion increased when David, seeing in London the
B.c.
marbles of the Parthenon, asked himself "if his career had not been one long misunderstanding, a permanent confusion between the truth he beheld and the life he aspired to attain," as
Elie Faure put
it.
seemed
to him the fruit of "sincerity." This did not prevent the poet from being unjust toward
Rude's Woman of Gaul in his review of the Salon of 1859 instead of "a person of grand bearing, free, powerful, with robust and untrammeled form, the strapping daughter of the
forests, the wild and warlike woman," the sculptor offered "a miserable figure whose breast,
Strangely enough, Baudelaire favored Neorealism in sculpture, perhaps because
it
and
legs,
relief, are
18
cism.
1.
JEAN-ANTOINE
Napoleon
HOUDON
(1741-1828).
I.
Arts, Dijon
2.
Museum, Leningrad
lifesize.
Decorations of entrance
is
this
very line
work except
Poetry.
artist
from Devosge,
Dijon
to
bas-relief he
produced
in
the
Collection,
Sussex
said that
4.
years that
from the
all
carved.
it is
at
Trust,
There
10.
Atlantes.
The
Academy
3.
Muse des
1857. Plaster.
also
in
Penelope
(detail).
11.
Gallery,
of chastity."
Athens
Drossis followed the academic current so dear to the sculptors
of his country.
He
Sciences in Athens.
Orestes, c.
academic
Russian
Sweden;
in
to the
Murmuring
in the face
little originality,
which reveals
by Sergei (see
p.
that the
model,
9". Pina-
critics
maintained caution
"enamored of
he not spread
his
which
beauty? His
the abyss.
wings
is
an eagle,
To
art
why not
"Why
does
from
light
rise
The
art abased.
his
please
is
is
a merit of the
noble thought
is
an
Schaller, like
14.
Music.
p.
19, 30),
remained an
5'
danger; to elevate
8.
to light,
Museum, Leningrad
1787-1839).
Wind
Duret treated
12.
The Netherlands
15.
In
Muse du Louvre,
Paris
19
NEOCLASSICISM
He
carved a certain
number of
monument
of Bishop Lon
for the
24.
Stockholm
Like most Swedish
district of Prague.
artists,
He
16.
Tomb of
Princess E.
I.
5'
height
Leningrad,
Monastery,
Museum,
Russian
6i".
Romantic. His
"Russian Canova"
and
he dominated teaching in
VICTOR SIMYAN
17.
Art
Etruscan
25.
bourg, Paris
An emulator
the
height 49".
by
Muse
Seated
Woman.
1861.
Marble,
academic career.
26.
Galleria Borghese,
Canova exercised
wear,
as if
Museum Simu,
Bucha-
rest
first
to
The
carried off
all
Western world
28.
artist
of his
artists
workman-
]uno and
Marble, length
6'
7". National
skillful
on most
in 1864.
a decisive influence
founded
18058. Marble,
Rome
Man
Bucharest
Young
Museum Simu,
Avignon
Calvet,
27.
(1826-1886).
Represented
Nymph of the
18.
19.
for
thirteen years.
Leningrad
tor
Rome
subsequently lived in
original
Museum,
33". National
Resting Faun.
Way),
Rome
The
Sisters of
1828.
in 1810.
29.
c.
Museum, Stockholm
Museum and
England
sisters
classical.
30.
20. VASILY
and
Venus,
Cupid.
1809-10.
One
31. JOSEPH
of four sculptured
Perseus Freeing
classicistic to the
who was
I,
who was
justly
a remarkable animal
32.
had copies
The
after
1800,
like
5'
11".
Houdon's, remain
Lesbia's Sparrow.
2".
CHINARD (1756-1813).
and
7'
ic
Marble, height
21. PETER
Mars,
Berliners quickly
named one
Arts, Marseilles
33.
Psyche.
22.
This statue
is
based on a
poem by
34.
The
Baltimore
Pushkin.
Italy after
1855.
23.
Girl
Reposing.
1826.
Marble,
length
37".
35.
Nationalgalerie,
handmaiden of
art sources
for the later empire. Italian influence vied with French taste.
The
tion,
Berlin
In
Gallery,
art of
6'.
Kunstmuseum,
Berne
Throughout
convert of Thorvaldsen.
36.
Eve.
Lisbon
20
37.
originality of
Muse de Douai
This is an early work; Cordier later became interested in
making sculptures of the different types of the human race (see
407, 7,8; p. 408,
Woman
Greek
d'almida (1844-1926).
is
is
of Art,
Of
New
this fine
is
Museum
10". Metropolitan
York
American
artist,
severe. Powers'
"he ran
Florence." The judg-
Andr Michel
original-
ity.
In the
The Oracle
(d.
56".
height
Neoclassical school
is
good sculptors
men
(see p.
Ruxthiel
(d.
1866),
DUPR (1817-1882).
Modema, Rome
Giovanni Dupr, an
Italian sculptor
whose
born
in Siena
art oscillated
of French
between
He himself strove to
who worked around him renounce their
make
Auxerre
like
Ven
j.
its
Lambert Godecharle
nale d'Arte
DELIGAND (1815-1874).
in the Fields.
et d'Histoire,
The Belgian
47. GIOVANNI
Picardie,
Marble,
1839.
as elegant as they
40.
Thodore
Beaux-Arts, Brussels
said that
as
ment
5'
later in certain
Orientalist
Innocence.
POWERS (1805-1873).
found
Marble, height
in
face,
imagination.
California. 1858.
mark
Germany
of a
The work
pi. X).
HIRA.M
much
Puberty. 1877.
39.
too
left
p.
lessons he received
the sculptors
taste for
grandiloquence. His
work
is
free of overemphasis
and
holy orders.
Warming a
CALLAMARD (1776-1821).
Viper in
ralism.
There
is
Monument
to
Racine.
U Fert-Milon
Muse
birthplace,
Dijon
49.
is
statue,
HERMAN VILHELM
BISSEN (1798-1868).
44.
6' 6".
felt
a certain casualness
toward Neoclassical
ideals
art.
museum, or Glyptotek,
at
Soon Denmark
same time
Ny
who founded
the
Carlsberg in 1888.
\
I
10
11
13
15
17
18
19
20
23
24
25
26
27
28
liiBte
-^^;
--:;,
-;^,V.
i^.
-f
39
40
44
47
ROMANTICISM
2.
is
in the Parnassian
movement.
PAUL VALRY
Writers end
in the
who attempted
to define
Romanticism, learned
that the difficulty consists in fixing the limits of the irrational. Instead
its
effects
and be-
neficent breeze.
Thus
it is
work
of
sculpture than to state outright that a particular sculptor was really a Romantic, "an artist
who, in bringing into being his real self," says Luc Benoist in his La Sculpture romantique^
meaning
to define the
Romantic
artist.
not always easy for our contemporaries, who in their way are somewhat mannered
Romantics, to judge the work and motivations of an artist who lived a mere fifty years ago.
True, our psychological and visual sensibility as well as our political and social conceptions
have evolved considerably since the days of July, 1830; the Romantic revolution did not correspond, in the minds of its instigators, with the notion we have of a modern revolution. For
It is
this
we
reason
are constantly surprised at finding that the sculptors called Romantics (the
one need only think of Balzac and Hugo) were, for the most part, defenders
of the throne and of religion. Felicie de Fauveau, who dreamed only of crushing the sons of
the revolutionaries and winning back the throne for the count of Chambord, was always
considered a Romantic sculptor. Perhaps it would be more accurate to classify certain sculp-
writers also
tors
life
among
we
it
exercise
who were
conceals.
still
Romantic, though they were considered so in their time; to our eyes, conditioned
by abstract art, they seem ponderous, often solemn, productions.
The gulf that separates so-called Romantic sculpture from painting is caused by the
choice of subject and, even more, by its "execution." Delacroix needed only a brush, some
paint, and a canvas to produce his Liberty Leading the People; Rude, creating his Marseillaise
from a number of blocks of stone (see p. 45, /), had to overcome innumerable technical
problems. Moreover, from the instant that a different hand, that of the assistant, intervenes
between the sculptor and his material, the artist's creative drive is in danger of being hampered. If this process occurs in an academic piece the artist's standard methods will suffice.
But what about the moment of creative passion, blocked by too many obstacles?
works
as
who
does not always seem at ease in judging sculpture, often revealed contradictory feelings in which his visual habits appear to clash with his poetical sensibilities. Thus
Baudelaire,
shown
after having
lively
41
42
nor
manner of
feeling.
For
To
art
that
is,
inwardness, spirituality,
me Romanticism
is
Romanticism
color, aspiration toward the infinite
say
is
modem
to say
expressed by
all
Well before the end of the eighteenth century in France, Neoclassicism already carried the
seeds of Romanticism. The monarchy was in power, but the police chief and the censor,
deprived of real authority, were both incapable of perceiving that the immoderate enthusiasm
shown by His Majesty's subjects for ancient Rome its monuments, its svmbols of power,
and
its
tribunes
might
deference to the King and to the court nobles and city gentlemen
out protest, the bills of their tradesmen, painters, or sculptors.
come through:
who
If
it
the artists
was
in final
is
the exchange rate of the franc; Houdon's Voltaire smiles, quizzically and without illusions,
ROMANTICISM
43
about virtuous and exemplary personages who could satisfy both moralistic as well as middleclass ideals and David d'Angers announced that an artist's genius depended on his "virtues,
David d'Angers believed in the national mission of sculpture: "Every work of sculpture
is a witness. Whether it be witness to a living idea, to facts preserved by history, to beliefs
practiced, to customs, poetry, or dress, the work of sculpture must sum up, in some way,
the genius of a nation." At the request of the State or of the municipalities, sculptors turned
out multiple
effigies
The
sculptors
made themselves
very
moment
They
seized Marshal
fatal bullet;
in the
mouths
eyes hollowed
howls to give themselves courage the dying choke cheeks sunk in,
in bedclothes rumpled with sweat. In connection with this come changes in the rendering of
physical suffering. Suffering, in the classical period, is noble: Laocoon and his sons agonize
in the stylized manner of Japanese Kabuki actors. With the Romantics, death takes place on
stage: gestures evoke pathos, even drama; a man reaches for his sword, a woman for poison
open
in
as virulent as
repudiated the idea of reviving the traditional realism inherited from the eighteenth century
what Luc Benoist calls the "historical vein"
which was separated into two systems: in the
one even togas were removed from the statues in the other the figures were allowed breeches
or drawers, like those of the dragoon by Charles-Louis Corbet or, for the soldiers on the Arc
du Carrousel, heavy standard-issue cloaks and high boots it was the baron Gros transformed
;
into sculpture.
44
But then the Romantic reappears in him, and he concludes: "The modeled work is an
apotheosis. What a sculptor must seek is the soul; what he must express are the luminosities
with which that soul illuminates itself, the great deeds it has done which have earned for the
person depicted the admiration of the ages."
In David d'Angers' proposition, laving down a number of rules, we realize to what extent
academicism was still present, dissimulated but readv to resume its powers. The intentions
seem ridiculous to us today had been expressed a hundred and fifty years
before by Felibien and Roger de Piles. He continues: "I should like to have certain rules set
up for the depiction of great men. Full-length standing portraits should wear the clothing of
of the sculptor that
men
sometimes
execute in
this, it
may be
said in passing,
is
large a
difficult to
this refined
Grand Manner the ludicrous costume of the modern is better suited to those deformities. The sculptor can represent men of learning, poets, artists, and orators either nude or
draped, A skillfully chosen accessory, by indicating what distinguishes the person, permits us
to designate the epoch in which he lived. In any case, that fact counts for little in the image of
genius the genius has no age, he labors for all the human race." The question of the toga or
redingote remained until the time of Carpeaux a point of discord among academics, Neoin the
classicists,
and Romantics.
Romantic
art
with
its
best
it
it is
Arc de Triomphe in the Etoile, the church of the Madeleine, and the Panthon, and it was
customary to entrust the larger work to an academic and decorated architect but to leave the
carving of the relief decoration to young sculptors like Rude or Barye. From this curious
alliance
the Marseillaise of Rude, an essentially Romantic work seemingly plastered onto the
fundamentally classical Arc de Triomphe
there soon arose the Eclectic style.
Henri Jouin in his Esthtique du sculpteur, written almost thirty years after the birth of
Impressionism, continued to insist that "the goal of art is the manifestation of the Beautiful,
that therein lies its essential and higher goal, that the Beautiful is in no way separable from
the Good, the two forming a unity." For Jouin, who curiously enough was the biographer of
David d'Angers which introduces even greater caution with respect to Romantic sculpture
"the sculptor is not free to invent a form. Imagine a strange hippogriff. Replace the winged
horse by the body of a reptile, the griffon's head by that of a leopard, and you will have produced a monster of no known species. Hoffmann will describe it, Callot and Gavarni will record it in drawings no sculptor will be able to model it."
At the end of a chapter devoted to Romantic sculpture, one has the right to ask if people were
to judge today most of the pieces carved or cast between 1820 and 1850, would these be found
not Romantic in style but Neoclassical works that had been adapted to the use of a bourgeois
public which enjoyed being accused of Romanticism. At the least, if deciding to place no limit
on Romanticism, one must admit that Carpeaux, the Symbolists, and even Rodin were the
real representatives of the movement. This would lead to the conclusion that Romantic
sculpture disappeared at the very
moment when
Bourdelle
ROMANTICISM
1.
bronze cast by
l'toile, Paris
Luc Benoist reports that "when Rude had his wife pose for the
vociferating figure of the Marseillaise he ordered her to scream
louder, louder
still
at
4S
height 51".
Muse du Louvre,
Paris
new
critics as
own
the
should be.
art of sculpture
turned
facility,
REIS (1847-1889).
The Exile.
Reis,
Chamod
F.
Oporto
Dying prematurely
counts
among
fortv-two,
at
Portuguese
this
The
sculptor
subject
treated
is
the
9.
The
Fighters.
Bronze.
1867.
Museum, Stockholm
2.
Returning from
Rome
Westmacott proved
in 1797,
one
to be
as the
He
tomb of the
Arch
in
Hyde
originally before
Park.
Marble,
11
18".
is
1865,
Edmond and
telling
me
that
Jules de
alongside the
and pointing out that they were one and the same, except that
the coach horse's head was even
4.
more
beautiful."
to
10.
relief
below
is
one
Flercules
and
Lichas.
1812-16
(original
Modema, Rome
Lesieutre, Paris
work he
sculptors. In this
Retire, Madrid
The
Monument
11.
It
1811.
a Bull.
Sacrificing
Nuremberg.
Winged Genius
work
is
entirely
worthy of
Bellver,
Cain and His Race Cursed by God. 1832-39. Marble, height 6'
5.
demia de
Bellas Artes,
Lucretia sets
like
it
who
his
down by
was very
that
conception
mar
the
whole."
Valbudea studied
first in
A
in
7.
tures
artist
Orlando Furioso.
Plaster
model exhibited
Arte
Salon of 1831:
Museo de
Modemo, Madrid
monument
dedicated to those
ish
independence.
15.
who
Muse
du Luxembourg, Paris
at
CUBERO (1768-1827).
JOS ALVAREZ
The Deluge.
46
ment always on
This
is
Denmark. At
museum.
25.
Ophelia.
An
finest
Paris
26. PIERRE
works date
nineteenth
Ue
Suicide.
Modema,
7'
1".
Bojr with
masterpieces.
The
to
1819.
Schafifhausen,
Switzerland
Marble.
Waterperry
(Oxfordshire)
valdsen.
Chantrey's preciosity
is
Arts, Brussels
28.
Monument
DE BRAEKELEER (1823-1906).
27. JACQUES
Florence
Italy after
palaces in Paris.
Galleria d'Arte
museum
Millbank in London,
at
now
Tate Gallery.
29.
The
First Cradle, c.
Arts, Angers
30.
infants Cain
a prodigy,
The Princesses Luisa and Friederike. 1793. Marble, height S' 8".
20.
Museum, Mer
known
LOISON (1816-1880).
A
18.
19.
announces the
it
(Loir-et-Cher)
century.
table
in his guts."
Marseilles
17.
Allar's principal
man who
the alert, a
37".
Bianco,
Palazzo
Genoa
The
artist, a sensualist
Sergei,
21.
thou blessed"
Monument
to
making of
style.
in
art
stays in his
when he
22.
well understood,
who made
life.
sphere when he
strove "to
sensitivity
He was
which
philosopher
except
that Poussin
paints, while
Flaxman leaves
his
stops drawing."
31. LOUIS-ERNEST
Galleria d'Arte
on
his
account
is
that
on seeing
Petit Palais,
figure,
transitional
succeeded
in
with liveliness
passing
finally, to
Art Nouveau.
SINDING (1846-1922).
Woman
S'
in this
work.
this facile
production of such
de
Salon of 1839.
Champdivers.
(1841-1905).
33.
Louvre, Paris
say
BARRIAS
by a Snake.
in
32. STEFAN
Woman Bitun
sum up
Marble, height
so as to
Paris
Barbarian
Modema, Florence
This work is part of a group
group that he
this
about
said
a face."
23.
Houdon and
He
influences of
Chichester (Sussex)
Cathedral,
"Come
marked by the
to
Life
by
the
Shepherd Phorbas.
I.
was proclaimed
ROMANTICISM
47
THORVALDSEN (1770-1844).
35. PIERRE-ANTOINE
43. BERTEL
Museum, Copenhagen
among the
valdsen
36.
Ranked
Museum
City
James Watt
Pre-Raphaelites.
DIEUDONN (1795-1873).
of 1853. Marble. Muse Fabre, Mont-
37. JACQUES-AUGUSTIN
common
Salon
sculptors, the
all
all
Paradise Lost.
Thor-
greatest of
in his lifetime
X 29f'
his
work
helpers the
his
pellier
38. JOSEF
London
Prague
Germany.
in
long and
full life
sculptor, to reflect
An
in
episode
45. CHRISTIAN
FREUND (1821-1900).
Picking Flowers.
seum
for
Kunst,
46. BERTEL
Mu-
Statens
Copenhagen
THORVALDSEN (1770-1844).
CHATROUSSE (1829-1896).
39. EMILE
Hlo'ise
Vendme
Salon of
40. ERASTUS
DOW
PALMER (1817-1904).
pure
Classicist,
in
Museum
of Art,
New York
as a
works
York.
He
ton Fish,
47.
monuments, and
1865 exhibited
in
created a
among them
this
women
captured by the
EDWARD HODGES
Baily, a pupil of
41. ANDR-FRANOIS
took part
Young Girl
at the Spring.
Beaux-Arts,
Muse des
Lyons
BOSIO (1769-1845).
statue of Nelson
is
by
Calvet,
The
Muse
Avignon
EDWARD HODGES
BAILY (1788-1867).
A decidedly
who was
"Bosio sculpts
as
he
easily at first,
when
jects
show
and
this
it is
but he has no
to say of the
it
lacks
"The
somewhat
in
in the
6' 5^".
Paris
in
1824 he received
a scholarship
from the
arts
fund of Maine-
Maindron
first
learned
wood
princess
from
Vellda,
A Romantic who
lived
first
Chateaubriand's
Les
is
the
Martyrs
50.
Milan
bourg or
now
Muse du Louvre,
is
as a masterpiece.
originality,
time
MAINDRON (1801-1884).
work
its
who
soul
People
talks.
in
in Trafalgar
Baily.
Vellda. Plaster
in the
49. TIENNE-HIPPOLYTE
42. FRANOIS-JOSEPH
first
and the groups on the south side of the Marble Arch. The
48.
TRUPHME (1820-1888).
Square
Indians.
BAILY (1788-1867).
Muse du Luxem-
Queen"
{Marie-Amlie,
Florentine sculptor
who was
Museo Poldi
Pezzoli,
sculptural
decoration of the
him
48
qualities
somewhat
forgotten
JEAN-LOUIS VERAY
Sleeping Reaper.
(bom
in the salon
sculptors,
Bartolini's
of sculpture."
his
5'
6".
-Muse Calvet,
57.
5'
10".
work
Moderna, Turin
as tar
away
of Jacques Coeur,
him
so vindictively.
Ei-e.
just left her hairdresser does not appear to have suffered too
at the
among
dates
Hecuba:
the juries
refused his
58. JOS
"Ah!
which
The Triumph of
1810
59.
as
modern productions, by
assassins.
his
l'toile,
Nyssia.
why
They
much
Cincin-
Ohio.
c.
as
the Statue
53.
enjoyed
Model for
Marble, height
nati,
he was,
Rome
1820).
Eve.
myths.
Avignon
52.
38'.
Commis-
Paris
Muse Fabre,
Montpellier
for Pradier,
morning
rue
Brda."
60. JOS
PIQUER
DUART (1806-1871).
Academia
holm
Romanticism.
56.
works sometimes
artists
in Spain
whose
breath of
Il
13
14
16
23,
24,
25
30
31
32
35
40
II
LI
46
48
49
51
;l
1'
II
VI
Ai
>r^
^V
L^
57
58
3.
DAVID D'ANGERS
worthwhile to view the life and work of David d'Angers in some detail because his
contemporaries thought of him as the very model of the Romantic artist; furthermore,
the great number of his notes made throughout his life tell us about the' aspirations and
is
It
motivations of
wood,
first
Pierre-Jean David was born at Angers in 1788, the fourth child of a "sculptor in
marble, stone, and plaster" who was responsible for restoring the sculptures of the
Angers Cathedral. Although the boy was precocious, manifesting in adolescence a taste for
sculpture, his father was reluctant to allow him to follow the family career. In 1800 the
youngster was finally permitted to attend classes in the central school in his native town. His
father's opposition is easily explained: in those years most sculptors, and particularly "restorers," were treated as craftsmen and paid for piecework; having had to hunt for work all
his life, the good man did not want to see in turn "his son die of hunger." Besides, he added
superstitiously "My son, there is only one David who is a painter, and there is also only one
:
David
who
is
a sculptor."
77
78
man
ists
in the street as
the
how many
of
them
are
form of genius, one must have the sparks within oneself. Otherwise one will only depict a
skeleton." Nevertheless the eleven works he submitted to the Salon of 1824, among them a
round relief intended for the courtyard of the Louvre and representing Innocence Imploring
Justice, scarcelv seemed harbingers of Romanticism. Henri Jouin said of them: "This time the
return to Greek art is consummated. The cut of the costumes and their direct reflection of the
nature of the subjects indicate David's care to speak the language of Phidias in all its purity."
It was about that time also that the young sculptor had the idea to be the historiographer
of his epoch, executing medallions in many sizes which he turned out in quantity over the
next thirty years. Beginning in 1827, he modeled profile medallions of Marshal Jourdan, the
and the painters Ingres and Granet. From year to year the list grew longer.
Paris did not suffice him: he returned to London to do relief portraits of the painters Thomas
Lawrence and John Martin and the philosopher Jeremy Bentham. He went on from success
to success. People took him for an arriviste, one who has arrived.
All France admired his statue of Racine in La Fert-Milon, the poet's birthplace, rendered standing and in classical drapery, a work of imagination growing from the tradition
surrounding the great playwright: "For the coiffure I was inspired by the masses of hair of the
Tragic Muse." On September 29, 1833, the population of the departments of Aisne and
Marne invaded La Fert-Milon it was a triumph for the sculptor. When he passed a barber
Do you remember, Monsieur, that I shaved you when you came
ran out from a cabaret to say
here to see your 'child,' for you are the true father of Racine?" The commonfolk nudged
each other when they saw him and whispered: "Look, there goes Racine's father!"
After long travels through Germany and Italy, David settled in Paris in a house he bought
at 12, rue d'Assas, premises that made it possible for him to accept a large number of pupils.
A large court separated the building from the street; three studios adjoined, opening onto
a garden. The first was used by the assistants, the praticiens; the second was the master's atelier; the third was a sort of storeroom containing plaster and bronze casts, carefully labeled,
arranged on deep shelves that reached to the ceiling.
Commissions poured in. Every city aspired to possess a work by David. In 1835 he completed the sculptures for the Porte d'Aix in Marseilles. On November 17, 1839, the entire
population of the city of Angers inaugurated the halls of the Logis Barrault as a repository for
models of every work by the artist, his gift to his native town. After the local chorus had
chanted a "Hymn to David," the city authorities, preceded by a brass band and accompanied
by the National Guard, led a parade of the enthusiastic population. And other cities honored
him: Dunkerque changed the name of the rue de Chartres to rue David-d'Angers.
Like many of his contemporaries whose youth had seen either the French Revolution,
the victories of the Empire, or the "glorious three days" of the 1830 revolution, David d'Angers manifested throughout his life what may be called republican sentiments. He was obsessed by the image of his father who fought under the brilliant General Hoche in the campaign of the Vende. The esteem he enjoyed in intellectual circles, at home as well as abroad,
spurred him to join the struggle himself. At sixty he wrote "Before being an artist one must
be a citizen," and that year, 1848, he was named a member of the National Assembly.
As mayor and deputy of his district, he had to face the problems posed by the unemployment of tens of thousands of workers. Defeated in 1849 in the new elections, he decided to
return to his profession, but the winds had changed on December 9, 1851, two months after
the inauguration of his monument to the glory of Gerbert, David was arrested at 3 o'clock in
politician Gohier,
'
'
DAVID D'ANGERS
79
the morning at his house and taken to police headquarters. At the trial his judges, wishing to
show indulgence, offered the prisoner the choice of a sentence or exile from France. He
in
He
lived
lift
two
his health
those
whom
he had perpetuated in
and Gouvion-Saint-Cyr
effigy.
The writings and opinions of David d'Angers are somewhat disturbing to anyone having a
definite idea of Romanticism. The man never ceased to demonstrate contradictions. He
claimed to be faithful to the classical tradition; he admired Poussin but lauds Delacroix. He
storms against the Romantics' statements about him and cannot understand the subtleties
contained in the slogan Beauty is ugliness, which circulated in certain studios around 1830,
whence his contempt frequently shown for caricatures: "Ah! I am no longer astounded that
these lepers of the arts, the caricaturists, should succeed in attracting the crowd who laugh
at others, but don't see that it is themselves who are being mocked!"
A similar versatility explains his charm for the bourgeoisie as well as for the heads of
government and the world of letters. On several occasions Victor Hugo hailed him with
." So it was that the
enthusiasm: "Go then, let our cities be filled with thy radiant colossi
sculptor came to supply statues to the French municipalities. But rather than impose his personality, as Gricault and Delacroix did (from the few plaster pieces left by Gricault one can
imagine that he would have been a true Romantic sculptor), David d'Angers preferred to
move with the habitus of the Salon, and so his Casimir Delavigne, his Larrey, his Grand Cond,
his General Gobert are works that could have been made by any excellent winner of the Prix
'
'
'
'
de
Rome
of the time.
Only in his medallions did David succeed in freeing himself with any degree of self-confidence
from Neoclassicism. The abundance of his output (he modeled more than five hundred portraits, some in several versions) and the fact that he habitually set himself to represent the
outstanding personalities of the Western World between 1820 and 1850 have certainly contributed to the survival of his works among the caprices of fashion. Those subjects were numbered in the hundreds. In this connection Henri Jouin repeats an anecdote told by Livy "The
sculptor Lysippus of Sicyon was in the habit of putting aside a gold coin for every piece he sold.
When he died, his heirs opened his strongbox and the sum of money they found in it permitted them to affirm that Lysippus had produced no fewer than 610 statues." Jouin assures
us that David d'Angers must have made twice that number.
David established a sort of hierarchy only the dead had the right to full-length statues
busts were reserved to outstanding men; medallions to the merely talented. But this did not
prevent him from reducing almost all of his sitters to the scale of the medal, regardless of their
importance. It was the profile that interested him "I have always been profoundly stirred by
a profile the full face looks at you, but the profile is in relation with other persons, it evades
you, does not even see you. It is more difficult to analyze; the profile is limited." David is one
of the few to succeed in rendering in bronze the coloration of his subjects, and this was thanks
:
80
On
For
a sculptor
surprising.
Of
making
it
"sing."
this subject
under suffering and misery would not be able to create works of genius. In him, nature exhausts itself in repairing the losses of a depressed organism." What would Baudelaire have said
of this statement?
The contempt
that
come?
His attitude toward costume was similar. Like the Ancients he thought that "the nude
the condition of sculpture, which is otherwise almost always miserable and vulgar."
A large gulf separated this Romantic sculptor from Carpeaux and Rodin.
1.
6.
DAVID d'.\ngers.
Monument of General Gobert (d. 1808). 1847. Marble. Cimetire du Pre-Lachaise, Paris (see below, 4)
7.
2.
in the
French expedi-
Doctor Bichat,
Strasbourg
believed
to
DAVID d'aNGERS.
DAVID d'aNGERS.
his
DAVID d'aNGERS.
Among
other things, he
here.
(detail
at
of base;
Santo
5.
medallion,
DAVID d'aNGERS.
is
Bronze
DAVID d'aNGERS.
Gutenberg
is
see
Domingo
above,
/)
in the act of
jailer.
DAVID d'aNGERS.
Johann Wolfgang von Goethe (1749-1832). 1829. Bronze medallion, diameter 9". Muse du Louvre, Paris
9.
DAVID d'angers.
Molire's works.
in
REALISM
4.
OR
The world
it
POSITIVIST
is
We
in
ART
a revolution.
STENDHAL,
Museum
1817
In
in
the
and cupid or Realist, as the sitter's facial expression and dress suggests.
In the nineteenth century such ambiguity was at its finest. After 1850, total confusion
reigned. Realist, Naturalist, Populist, Symbolist
the difference is often difficult to establish,
and it would appear, on leafing through the illustrations in this chapter, that many works
could be classified under more than one heading. Faced with the impossibility of making clear
distinctions, we haye chosen this subtitle, Positiyist Art.
Already in the eighteenth century Diderot, little concerned vyith such subtleties, used
indifferently for Chardin, Greuze, or De Boilly the terms Populist, Materialist, or Realist.
Likewise, no one dreamed in the days of Callot, Le Nain, Teniers, or Brouwer that these artists did anything but paint the scenes offered by contemporaries. The unflagging success of
their works indicates the degree of pleasure that men haye always taken in obserying their
own lives. Likewise, today vye do not tire of the spectacles offered in darkened cinemas.
It was about the time when Delacroix's work was finally winning the attention of the
public that an expiring Romanticism ceded its place to Realism. For Courbet, the Funeral at
Ornans marked the funeral of Romanticism. The public now preferred to Baudelaire the literary Champfleury, the Positiyist philosopher Auguste Comte, and the experimental physiologist Claude Bernard. An end with Art for Art's Sake! From now on. Art for Everybody's
Sake The creative artist refused to be a mere decorator, as he had been for many centuries
he was determined to play a part in society, to be at the service of all. According to the advocates of Saint-Simon and Fourier, the artist should now collaborate with men of science
and demonstrate through his images the benefits of progress, that is, the machine.
Courbet's Stone Breakers and Millet's Gleaners, those workers and peasants held up to
public admiration, disconcerted most visitors to the Salons. The artists were accused of being
agents of socialism; Glevre, of also betraying his class. Yet the man in the street reacted to
these works quite simply, like his grandparents \yhen they went to admire the Greuzes in the
Salon of 1769. Rather than join in aesthetic or political quarrels, the ordinary individual
sical
lyre
is
The realism
it
in
common
with Realism arising around 1850. Unlike the personages of Houdon, who aimed above all to
be well-bred and sociable, nineteenth-century portraits generally show us persons someyyhat
unsure of themselves, their expressions often betraying a degree of effort.
85
86
Preoccupations, he
thought, strengthened the features and ennobled them. In Rivalta's statue of a young woman
walking slowly while reading a letter, the face breathes serenity; whether the letter is from
brother or lover does not matter, the content satisfies and thus beautifies her. The ravaged
face of the old
is
her arms. Chaste love now succeeds the coy loves of Neoclassicism and the passions of the Romantics in every case the subject matter plays the fundamental role. While the Romantics and Baudelaire inveighed against this taste "for rubbish, for the
in
"I
understand," said the poet-critic, "the furies of the Iconoclasts and the
the Realists, aspiring to serve the people, put themselves at the
Muslims against images"
picturesque"
people's service.
work
of the Romantics
To
appreciate the
Hlose
With
few exceptions, the female figure could represent anything partially unclothed, more
buxom than she had been in the preceding century, always "a perfect lady," she could
a
REALISM
OR
POSITIVIST
ART
87
Used
the fumes of glory exhaled by pantheons, she seems apparently without listening to enjoy
hearing the trumpets of fame, the ovations of the populace, apotheoses, and hosannas.
We must,
all is
Rivalta,
realistic
to be suddenly surprising
when
they prefigure certain aspects of Surrealist vision. Before many of the monuments in the
cemetery of Genoa we find ourselves thinking irresistibly of Magritte or Delvaux. And yet,
what characterizes these different naturalistic tendencies is their disregard for modernity.
Around 1880 one finds in sculpture the same confusion that reigns in the pictorial world.
Rather than choosing between historicism, realism, and symbolism, the tendency of the day
is to compromise, and all would be perfect if one also notes here and there a few classical
touches to reassure the habitu of the parks and the visitor to the Salon.
even more than in painting, there was borrowing from all sides. Some, such as
the Dutchman Stracke, the
the Hungarian Miklos Izso, turned to Mannerism; others
to a symbolical realism. In
Russian Klodt, and the Frenchmen Chapu and Gustave Dor
Great Britain the Lambeth School, founded by John Sparkes, a pupil of Dalou, reflected for
a long time the French predilection for symbolic naturalism.
In the United States, where the middle classes wanted surroundings that would make
them feel at ease, Neoclassicism momentarily recalled the Old Country to the uprooted
population, and at the same time a folkloristic realism gave them the impression of discovering a style worthy of their new homeland. Avid for rationalism, liberalism, and good will,
they needed to find a polemical style capable of expressing the proud assurance of an adolescent nation. The American Revolution and later the Civil War, together with the permanent
conquests of immense virgin lands, established for the Realists, until then dazzled by Neoclassicism, aspirations toward Naturalism. After the Civil War a theatrical and anecdotal
style succeeded the Romanticism and picturesqueness of the sculpture of William Rinehart or
Randolph Rogers. Yet in a curious way most of the statues, whether by Hiram Powers or
Thomas Crawford or Erastus Palmer, while strongly subservient to Neoclassic art, show
also an indefinable something that marks them as American works.
This impression becomes confirmed more specifically in the works of Augustus SaintGaudens. The confusion of styles, even more apparent in America than in Europe, troubled no
one. Saint- Gaudens saw nothing untoward in placing a classical Victory alongside a perfectly
realistic statue representing General William Sherman on horseback. Some sculptors, such as
Daniel Chester French or Frederick MacMonnies, gave free rein to Neoclassicism or to a
decadent Hellenism; others reveled in Orientalism.
In sculpture,
it
Rarely in the history of art has sculpture had such predominant importance everywhere
had between 1875 and 1900.
as
88
in
Paris
artists
1.
work than
portant in a
artistic
quality.
more im-
often
is
is
sculptor
is
pupil.
16.
Office.
S'ude
17.
Woman
in
naire.
well-known sculptor.
18.
actor,
Courbet made
a'm.
19.'
his life.
The Grandmother's
Kiss.
bourg, Paris
1805
Houdon though
in a rather provincial
in the
same
c.
manner.
20.
2".
5'
at
sculptors, often
13).
end of
exile at the
Seated
among
this
.Malade Imagi-
as
Valet, c.
ILYA
6.
Muse Royaux
21.
The
First Step.
des Beaux-Arts,
The famous
revival of
French
HERMAN
8.
Rouen
22.
classical
whose
nale d'Arte
for Kunst,
23.
The
Alexandre
Dumas
The
Mme
Galleria
Nazio-
Rome
Moderna,
work which
is
both
realistic
and free of
24.
Ugo
1867. Bronze,
sculptor.
The
ADOLF VON HILDEBRAND (1847-1921).
10.
I4"x39^".
pornea, Lisbon
Pre.
monument). Collection
5'
conventions.
Museum
Copenhagen
9.
1883. .Marble,
Museum,
The .Mother.
Leningrad
LEROUX (1836-1906).
FRDRIC-ETIENNE
7.
Mu-
seum, Leningrad
way
Boy Testing the Water. 1886. Bronze, height 36^". Russian .Mu-
DALOU (1838-1902).
5.
AIM-JULES
4.
57^". Tretyakov
seum, Leningrad
century.
3.
Washing.
.Moscow
Gallery,
One
Young Boy
2.
also successful.
bacchi
Kunsthalle,
Rome
mento.
Hamburg
25. JEAN-JULES SAL.MSON (1823-1902).
11.
.Monument
Mme
Alexan-
This
Ny
\0y.
may be
the
his
companion.
26.
Pellegrino Rossi.
Nineteenth-century
most
conventional
attitudes
competence, observation
14.
with
simplistic
naivetv,
technical
Chamonix
a modern sport; de
shows the summit to
sculpture to extol
According to elderly
local
residents,
the
life.
piece.
13.
first
J.
12.
to
First Ascent
d'Arte .Moderna,
Rome
The
and
Italian jurist
5'
1848.
Our Dear
.Mother.
Budapest
StrobI, like
most Hungarian
artists
his art in
Louvre, Paris
10
11
12
15
16
17
18
23
24
25
CARPEAUX
5.
One
in particular
the uncouth
" WTjen
eyes:
only at
Rome
and
J.
16,
1865
As soon
as
Abdu-1-Kadir.
the
was
Rome
in
monument
that
in marble.
The
called out
"The day
will
it
Girondins and Camille." Carpeaux took his injudicious guest aside and asked: "If your prediction should turn out all too true, wouldn't it be wise for me to do all of your heads in
advance? People a hundred years from now might consider them fascinating."
It
seem
spirit
they scarcely
101
102
ture and sculpture of the French Renaissance, he conceived a work which may seem overloaded but succeeds in conveying an impression of unity and grace, a work which easily rivals
execution and rhythm, the work was judged audaciously suggestive, even
indecent. Some scandalized person threw a bottle of ink against the stone when it was still
white The Dance was ordered by ministerial decree to be removed from the faade before the
Franco-Prussian War of 1870, and Gumery was commissioned to make a replacement, but
after the French defeat no action was taken. In these years Dalou, Rodin, and Carrier-Belleuse
perfection of
its
ornamental sculptors and, to earn their living, turned out stone figurines
to decorate new apartment buildings many of the caryatids still adorning the neighborhoods
created by Baron Haussmann are by these great sculptors, though the works remain anony-
were employed
as
mous.
After the war of 1870, Carpeaux carved The Four Quarters of the Globe for the fountain in
the Observatoire Garden in Paris. The critics were mostly merciless, Jules Claretie among
them: "One asks oneself by what aberration of the mind, eye, and hand he could compose
group of savage, vulgar, and wrinkled dancers. A fig for correct and conventional art!
that is my firm opinion, too, but on condition that one does not substitute ugliness in the
place of grace, and does not take sickness for health." Claretie changed his mind at the Salon
of 1874, and said of the bust of Alexandre Dumas ^75: "Never has anyone handled and
gouged marble like this Indeed, it is life itself. One is tempted to cry out, like Michelangelo
before a portrait, 'Speak! Go ahead and speak!
At forty-seven, consumed by cancer of the stomach, Carpeaux wrote to Gounod on May
21, 1874: "I writhe on my bed of pain, crying out like a damned soul. It is hell on earth.
I say adieu to you, and thank you for the interest you
I am more exhausted from hour to hour
have so kindly shown your miserable Carpeaux." On October 12 of the following year,
having willed his works to the city of Valenciennes, he expired after exclaiming: "How
difficult it is to die!"
The work of Carpeaux was the first successful attempt to reconcile official art with free
art. Disciple of the great French and Italian portrait sculptors, he was the true precursor of
Rodin.
that
1.
The Dance.
Opra,
The
to the
archi-
Paris
4.
JEAN-BAPTISTE CARPEAUX.
Portrait
Lefvre, ne Soubise.
31^". Muse du
Plaster, height
Louvre, Paris
extreme precision,
viewer
3.
his
own
like
in
reproducing
Houdon, but
still
facial traits
more
with
in giving the
Muse du Louvre,
l'Opra, Paris)
Paris
5.
JEAN-BAPTTSTE CARPEAUX.
(plaster
Carpeaux's sculptural representation of his native city defending her industries and products in the Napoleonic campaigns.
6.
JEAN-BAPTISTE CARPEAUX.
JEAN-BAPTISTE CARPEAUX.
Charles Cornier.
bet.
JEAN-BAPTISTE CARPEAUX.
Madame
One
model
in
the
Muse de
Muse du Louvre)
The fountain was designed by Davioud; the bronze seahorses
and dolphins are by Frmiet.
V4-;
:^-
^^^mm^
%.T^^
5^-^
.^^
SYMBOLISM
6.
Philosophical art
to the
is
childhood of the
human
would
restrict
it
races,
to itself
many
might wish
successive
images
to express.
CHARLES BAUDELAIRE,
AU
some
trace,
L'An
philosophique,
more or
less
18S9
evident, of symbolism.
The
livelier
the artist's sensibility, the greater will be his success in translating the inner
ing of things into images,
however
abstract these
may
mean-
be.
To
designate symbolism,
its
we
have
a certain
among
seem
when
it
number of words,
comes to marking
as
close, such as
Houdon modeled
faces
reality,
but whose
107
108
Claiming to be benefactors of the working class and believing in the virtue of technical
the
intercontinental ship canals, mechanical looms, engines for steam or gas
progress
middle class took pride in finding intercessors as flattering and prestigious as the Fine Arts.
The more time passed, the more stable became the confusion. In his rough project for an "art
more it
more that
will be
"The more
Forty years later Rodin, who defies classification, was to prove that in sculpture it is possible
to be a Symbolist without using allegory. The problem of Symbolism brought him both passion and anxiety; his Thinker and Ugolino demonstrate this. He believed that if a sculptor dis-
pensed with symbols, he would never have to remove himself from the spiritual, as, equally,
*'
.he will have the duty to give new reasons for loving life, new inner illuminations for
guiding oneself. He will be, as Dante said of Virgil, their guide, their lord, and their master."
Rodin also told Paul Gsell that "Michelangelo is great because he seems ceaselessly tortured
by melancholy. In the same way he admired the Messianic and symbolist side of Victor Hugo.
Throughout his life Rodin remained wary of Symbolism and of its excesses that might
trip him up with their manneristic tendrils. On the other hand he was the enemy of a certain
type of synthetism, and lent a deaf ear to the charms of the divinities of Hellas and Parnassus.
Medardo Rosso was similarly a Symbolist; like the painter Eugne Carrire, he rendered faces
or groups of figures by using arabesque-like forms which seem to originate in a single epicenter. If Rosso was a Symbolist Impressionist, Gauguin in carving in oak the bust of Meyer
de Haan proves that for all his declarations he too remained sensitive to Symbolism.
.
'
It
was only
Groupe des
'
after the
XX in Brussels,
Most of those
that they
were able
were able
as in
the
They succeeded
movement were
drawing, etching, and sculpture. Xavier Mellery, who remains one of the most attractive
personalities in the Groupe des XX, was thought of by his contemporaries as the painter of
night and silence. The titles of his works
Delicacy is the Daughter of Force, Dream at Eventide,
The Life of Things
tell us much about the phantasms that haunted him.
But Symbolism cannot be at the same time a Garden of Eden and a museum. Its disciples,
as the twentieth century drew closer, sensed the difficulty, even the impossibility, of creating
symbolic images that lacked the support of allegory that Symbolism was a trap behind which
lurked the shadow of fashion, ever ready to draw into its nets a Max Klinger or a Charles van
der Stappen.
Soon
all
110
1.
copy, height
2.
1854 (wood
Bittern.
1809). Bronze
original
Museum
1". Philadelphia
of Art
Wood,
Academy
rectly,
Pennsylvania
William Rush
is
called the
he was the
first
first
from
life
and
his faces
typically
Nouveau.
9.
Museum
painted,
Ignis Fatuus.
of Wales, Cardiff
Comedy. 1808.
8.
carpenter
first a
894), Jardin
sensualism
exaggerated but
is
finally
in
search
of an
free-
is
and charm.
skill
and carver of figureheads for ships, and the two works shown
here do evoke the statues adorning the prows of vessels. The
was completed
Red
Sea.
in 1869.
This
is
4.
Monument
the
to the
am among
do not
those
in his
who
com-
confess
find in their
works (since
model
group on
for a pedimental
Duke of Wellington
when
in-
leagues the
Britain
way
a profession,
for
whom
natural often betrays the pose, Prault seems to seize his per-
on
his re-
Among
Romanticism that
is
other works he
He continued
down with
often weighed
made
the
sonages as
case in point
7i"x
how
young
girl,
overcome by
11.
a crisis of nerves
Gallery, Prague
Inspiration.
5'
to maintain a
is
Hell.
by chance.
excessive con-
6.
if
the
Paris
A muse
artist.
WILLIAM
HAMO THORNYCROFT
4x9^".
City
is
(1850-1925).
Museum and
The
specific situation of
in a
Country Churchyard"
personage
who seems
1751
is
his
"Elegy
tors.
SYMBOLISM
II.
JEAN-BAPTISTE
du Louvre,
class.
him
Paris
111
the plaudits of
all
Europe.
16.
AI.M-JULES
DALOU (1838-1902).
The Apparition.
Moreau,
One
1876.
Paris
certain of Dalou's
finest
He compared
"he aspired
to
become
contemporary
artists.
He
died
17.
Fate.
Born
Luxembourg,
in
worked
Italv,
principally in Bordeaux.
Christophe
Paris
\sas a pupril
of Franois Rude.
Muse du
112
18.
24.
de Ville, Reims
.Monument
Barrias, this
of the
.Art
artist,
combining the
into silliness
real
relates
predilection for the "beautiful, the droll, the pretty, the pic-
now became
years before,
New
overwhelming
the Palais
Grand
World.
25.
Palais, Paris
to the
ble. Pare
.Monceau, Paris
Night
26.
Monceau,
Palais, Paris
An
.Marble,
c.
succeeded
in
sees
how
a half-unbelieving socie-
felicities
of
.Monument
to
the Architect
1885).
Htel de
Ville, Paris
is
fils.
primarily of churches.
trait figure.
Charles .Mathieu.
Lourches (Nord)
30'.
Paris
monuments one
In these four
Monument
Grand
to the
ble. Pare
ty
.Monument
28.
des .Machines.
listens to the
Third Republic.
Palais
work in which a certain sensualism is quite successallied w ith the educational moralizing that was the fashion
21.
TAN (1848-1939).
curious
fully
1893). .Marble.
(d.
the afterlife.
Electricity.
Guy de .Maupassant
Monument
27.
20.
Writer
the
to
19.
statues of a pit
boy and
timber structure
in a
in
northern
woman
(coal)
France.
companies
at
The marble
coalmine.
coNVERS (1860-1915).
22. LOUIS
The Seasons,
c.
Convers was
23.
Self-Portrait
to the
the
Sculptor's
Tomb.
.Model,
a pupil of Barrias.
Salon
of
1892.
Cimetire du Pre-
Lachaise, Paris
Monument
on
Carries
1899).
1906.
is
256, S2).
best
known
UJJJJJJ^JiJjJjjJJju.
/.
I?
12
13
14
16
I 19
20
21
23
25
7.
PRE-RAPHAELITES;
ART NOUVEAU
During
the
first
panted
the rhythm of poetry. The often
contradictory, usually
always
to live to
subject of statuary gave sculptors the idea that the world thought
them mere
stone-
With the return of allegorv the give-and-take among the arts suddenly seemed easier, for
manv themes, despite their occasional excesses, contained something of the breath of poetry\
The man in the street delighted in these themes; he found them easv to translate, and the
female nudes who seemed to be proposing them to the mind of the public were a most agreeable sight.
Once more we see the special influence of the powers-that-be over the art of sculpture.
To make a dignified presentation of the new secular and republican ideals, a search was made
among the outworn trappings of pagan civilizations. The diversity of motifs borrowed from
Athens, Rome, or Florence reflects the confusion which reigned in State and in Church,
Protestant as well as Catholic. Art, literature, and poetry
all
and intellectual disarray that prevailed as the twentieth centur\' approached. The
novelists denounced middle-class morality and the state of servitude imposed on woman as the
female object. It was the same in politics, where socialism snapped at the heels of paternalism.
Sensualism, drugs, and alcohol became the chosen themes of Symbolist poets and painters.
Charcot and the School of Nancy prefigured Freud and the Viennese School.
religious,
If
the Eclectic style provided the ideal image for the representatives of the upper middle class,
whether
art.
of faith, of leprosy, of famine," said Leconte de Lisle) people now preferred the earlier barbarian epochs. For knights who formerly were girded by steel the Englishman Reynolds-
silver,
125
Max
Klinger are
126
superb, their bodies cut from white marble and wearing draperies of onyx disguised as barbarian princesses, they are enthroned on benches of burnished gold or mosaics of agate, jade,
;
theme the maidens carved by Dampt are ready to sing Pelleas et Mlisande; the Orientales of Thodore Rivire dream o Salammb; MacMonnies revels in reading
Petronius. For Leonardo Bistolfi, in his refuge in the Engadine, Death is a young girl with a
and opal. To each
his
is
And
disturbing.
d'Angers?
No more
Gaudi, forever wandering at the boundaries of the dream, the fantastic, and the nonobjective,
occupies a place in the art of sculpture which will always remain poorly defined. The author
of the cathedral of the Sagrada Familia in Barcelona, without ever throwing in his lot with Art
Nouveau, was willing to go with it a bit of the way. A creator, his only law was the limits of
his imagination. At a time when machines were threatening not only to reproduce reality with
no intervention by the hand of man but even to create "automatically," Gaudi explored
astounding universes, new modes of expression he thereby reaffirmed the value of individual
work. Willingly he remained a symbolical figure, as if it amused him to mask for a little longer
;
NOUVEAU
PRE-RAPHAELITES; ART
1.
Weary
way of raising
hoped
to find
British sculpture
made
of Art,
later
8.
36". Walker
Mysteriarch.
it.
from
Frampton
127
New York
Museum
an American schooled
in this case
most
is
startling.
9.
2.
tain
all
nineteenth-century
later
Amor
Museum
Metropolitan
This
style
of Art,
8' 5".
a funerary stele,
is
in a
a disciple
of
Bust.
silver,
Mucha could
11.
4.
been
said to have
New York
is
Caritas.
a Belgian,
Constantin Meunier, but in this bust one sees, instead, the in-
spirit.
3.
Beaux-Arts, Brussels
Academy
Museum
in
of Wales,
from
histori-
Statuette.
9, 1970, Sotheby's,
London
Cardiff
12.
5.
The
Another version of
29",
6.
is
in the
bom
in Lyons.
Romantics
also intrigued
Nouveau
artists.
Icarus.
18^". Collection
this
Van Weydeveldt;
of
1841).
Secret, c.
pupil of
J.
W.
Edgar
Academy
Boehm
in
England and
a graduate of the
was remarkable
13.
work but
in finer
monu-
The work of
somewhat marked
in preserving a certain
originality.
mental sculpture.
14.
7.
London
The Pre-Raphaelite
ly
an Infant Faun.
wit/i
Metropolitan
Museum
of Art,
New York
was more
Bacchante
When
this
intoxicated
Boston Public Library, the administration took fright and declined the
gift.
128
15.
of
November
London
19.
.MAURICE BOUVAL
20.
certain
VILLE
VALLGREN (1855-1940).
JACQUES FLAMAND.
18.
17.
a great demand
number of sculptors produced these
them in as many as 15,000 copies.
16.
(d. 1920).
Bremen
The works of Franz von Stuck have a grace all their own. The
elegance and abstractness of some of his figures make us think
Dancer. 1897. Bronze, height 25". Kunsthalle,
21.
22.
The
d'Arte
of Maillol.
London
Beethoven.
1873.
Modema, Turin
III.
Bronze, height
27^".
Galleria
ri
f^K- -.*.--
'
WE
^^^BI^^^^^hI
^^^^^^^^^^^^^^^^^^^^^^^^^^^1
^H
1
^^^^^^^^^^^^^H>i Ui ^H
^^^^^^^^^^^^^^^^^^H0f
^^i AM
^^^^^^^^^^^^^^^^^H
10
12
tt^
15
Jl
19
20
ART IN FUSION:
RODIN AND HIS DISCIPLES
8.
in
other places he worked at the Muse d'Histoire Naturelle under the eye of Barye. So it is not surprising to find,
especially in his first works, reminiscences of Prault or Daumier, the mark of so
turned to
who worked
tells
from
decorative sculpture workshop
alongside
him
in a
Constant told him: "Never consider a surface except as the extremity of a volume, as the
point more or less broad that it turns toward you."
The attention of the critics and sculptors was aroused very early by their young confrre.
Indeed, perhaps the greatest merit of the very academic Carrier-Belleuse, then director of
the national manufactory at Svres, was in having the perspicacity and courage to invite
Rodin to work with him. It was also due to him that Rodin later received the commission
from Gambetta to make the Gates of Hell for the future Muse des Arts Dcoratifs the subject which permitted Rodin to demonstrate his admiration for Michelangelo and sculptors of
the Quattrocento,
Despite the criticisms often directed against him (which, except for the Balzac affair, were
mostly restrained), Rodin did not present himself as a revolutionary. Instead, confident in his
genius, he undertook to impose his views
ture.
He took
risks
to grasp
on
more
his
who
claimed to appreciate the art of sculpultimate triumph; he knew that he would never
all
...
am
like that
Roman
chanteuse
who
populace 'Equitibus canol (I sing only for the knights!),' meaning for the connoisseurs."
Like the realistic painters, Rodin demonstrates that "what one commonly calls ugliness
in nature can come to have great beauty in art." For him every natural thing has character;
the artist's task
is
to discover
it.
137
138
applied myself to copying nature. ... I have not tried to arrange it, I have not applied to it
the lavv^s of composition, I have not forced myself to harmonize its movements. I have observed nature and I have seized her in the fullness of her riches, of her life, of her harmony."
He
laughed
at the critics
who complained
that he
was unwilling to
works. To polish the toes of his statues, to dress the hair, did not interest him. And when he
reminds us that the same reproaches were once addressed to Rembrandt, we suddenly realize
that Rodin's art has a relationship with that of the artist of the Man with the Golden Helmet.
for Rodin and his disciples the
It is of no matter that many of his statues are headless
inception of a movement, the premonitory quiver, is often more revealing than the expression to be read in facial features. It was Rodin who at last realized a fusion of sculpture with
poetry. All of his work is steeped in a lyrical and naturalistic universe. For this reason he was
shocked by Baudelaire's opinions: "His criticisms are not fair," he wrote to Edmond Claris,
"sculpture is not an art of Caribbean savages."
:
work
Van
that
is
may
movement
form
It is
therefore
the flesh of a
woman
in
be, to find a
that
movement.
ART
RODIN AND
IN FUSION:
HIS DISCIPLES
139
Witness the statement of Armand Dayot "To my mind, Impressionism in sculpture can
only be the result of impotent eff^"orts. And, all in all, even if I am disregarded as an old fogy,
I still prefer the academic form in its cold correctness to all these attempts at convulsive and
grimacing sculpture, modeled like scums of lava by thumbs as agile as they are presumptuous."
callv.
DEGAS
Rodin and Degas have
little in
common:
For Degas, sculpture was merely one more means of capturing the
ways of movement of his models; he saw no use in exhibiting his efforts in that medium. He
consented only once to show a piece of sculpture, at the Impressionist exhibition of 1885;
this was the large ballerina, to whose bronze body he added real hair and a gauze tutu. The
seventy-four pieces he modeled were only cast in bronze by Hbrard from 1919 to 1921 when
the wax figures were found in the artist's studio after his death.
Again unlike Rodin, Degas had no interest in the metaphvsical problems of his figures
but only in their epidermis and their movements. Where dancers were concerned, it was the
equilibrium of their bodies that preoccupied him. Is this not the reason why, in most cases,
the facial features seem scratched or rubbed out, as if to underscore the artist's indifference
pressionist
Realist.
MEDARDO ROSSO
1880 Canova was still considered the equal of Michelangelo, and Canova's disciples, such
as Bartolini and Giovanni Dupr, were still enjoving a deserved success. But everything
changed when Medardo Rosso of Turin undertook to shake off the servitude of the Neoclassicists and academics.
After studying at the Accademia di Brera in Milan, Rosso first exhibited as early as 1882
works having social content, inspired by the naturalistic and progressive writers who were
In
show
this aspect:
primarily with light. Rodin was impressed by the talent of the young Italian and offered
him
work. The mutual esteem of the two men and the influence that the master inevitably had on his disciple explain why Rosso is generally considered to owe everything to Rodin.
In reality his work, usually more pathetic in tone than that of the author of the Gates of Hell,
profitable
possesses
The
own
its
originality.
unreal, often
morbid
aspects.
By
his
on
him
Edmond
Claris reports
where he himself had stood while executing a female portrait. Then, removing the wet cloth from around
a still moist clay head, he asked Claris to describe how the woman must have looked "I shall
always remember the sculptor's joy when, after described the character that to me seemed
clearly discernable in the figure before me, I declared that this plain clay sculpture gave me
the impression of a blonde with golden hair and a white, milky complexion."
Even more abstract in his outlook than Rodin, Medardo Rosso denounced the use of
praticiens, the artisans whose job it was to execute the details of a statue in the style of the
that,
during
a visit to
140
master of the studio. For Rosso, one should no more walk around a statue than around a
painting because the form, he said, has nothing to do with the impression. For him "nothing
is material in the space"; from this he came to declare that art was an indivisible entity.
"There is not painting on the one hand and sculpture on the other. What must be sought
above all, bv whatever means, is the realization of a work which, by the life and humanity
emanating from it, communicates to the viewer everything that would evoke in him the
grandiose spectacle of powerful and healthy Nature."
1.
7.
Frankfurt-am-Main
thread of
2.
who inexorably
cuts the
life.
Museum, Lenin-
was remarked
rue de Sze, an
artist
of
first
represen-
its
rank
who seldom
Knox Art
Gericault lived in
1816-17, and
Italy
is
Muse Rodin,
move ahead
wish to
memory
"I
much
Paris
9.
is
aroused."
4.
at the Galerie
it
frequents the Salon and whose glor\- has not yet spread beyond
8.
from
1887,
concerning an exhibition
tative, in the
grad
Fighters.
Muse
Rodin, Paris
it],
its
(Rodin).
The
from
life.
1347.
5.
'Sude Figures.
cast.
10.
Monument
to
Victor
Hugo.
(Surrey)
were
Artists' sketches
often reveal
sions, in
Rodin, Paris
for long looked dowTi upon, yet they
more of an
artist's creative
which everything
is
genius than
final
Rodin
said:
it; for
my
ver-
HONOR DAUMIER
The Migrants,
c.
part
(1808-1879).
1870. Bronze, 11
statues."
in a
garden to beautify
perfectly realized.
finite
6.
Commissioned
is,
has
all
for the
Milan
In this prodigious sketch the
No
one
else,
11.
is
which he subsisted
until the
Bremen
ART
13.
IN FUSION:
RODIN AND
16.
Muse Rodin,
14.
17.
Muse Rodin,
Sick
Paris
15.
Muse Rodin,
Paris
9".
Museo Medardo
Rarely has an
This
141
Paris
HIS DISCIPLES
is
among
history of sculpture.
Claudel,
sister
of Paul
Claudel,
was
artist
succeeded
in illustrating the
circumstances
He
has been
Rodin's student.
IV.
Rearing
1870-80.
Collection Maurice
Horse,
c.
il
142
ceeded
in giving to his
finds
with
Wax
Rome
Adam and
The Concierge. 1883.
Wax,
31.
make him
skill,
J.-G.
Rueff,
Si". Metropolitan
in
Museum
Barnard's
Rome
8'
New York
of Art,
is
Paris
Eugne Carrire.
nale d'Arte
work
This
Eve.
Cincinnati
21.
57"
seau.
30.
20.
19.
9"
Rosso.
18.
29.
feel
two men
in
myself,"
in Paris.
collection,
Paris
22.
HENRI
33.
Elegant Creature. Bronze. Private collection
(1869-1954).
23.
.MATISSE
Le Cateau-Cambrsis (Nord)
tisse,
solidly.
whence
34.
is
balanced more
Moderna, Milan
24.
25^" Narodni
Gallery, Prague
a sculptor
There
who
26.
is
no
1882-95. Bronze,
height 16".
as
he does
as a painter.
life,
the graceful
28.
(E.
and
J.
Napoleonic marshal
Rude
in
1852. His
sculptors.
35.
36.
monkeys"
the
in
"And one
Commemorate
Arts, Lyons
to
in a
Monument
fine
As
25.
Bourdelle, Paris
"To
I
uork
that assures
vou of eternity,
little girl-
in the
form
human
itself.
which
is
London
^''
10
11
14
I
I
17
20
n^
25
26
27
28
II
>i
Vh
#
i;
mV
30
3i
tv-
33
34
35
9.
1880 sculpture like painting thirty years earlier was racked by trends as
diverse as they were contradictory. The academicists did everything they could to
impose their primacy once more. Some of these, such as Dalou, excelled equally in
naturalism and symbolism; others, among them Falguire and Antonin Mercie, both
remarkable technicians, tended toward the historical approach, most readily to a
pseudo-Florentinism. Among the approaches to the new art the anecdotal realists had a faithful
following; social awareness, with Paul Dubois, Alfred Lenoir, Thodore Rivire, and Jean
Dampt, took on a missionary tone. In those years, Rodin alone was proving himself one of the
greatest creative geniuses of all time, and later he was followed by a number of disciples.
Some of the works that illustrate this chapter were done by sculptors then young men
who would later gain great fame. What they produced
like Bourdelle, Brancusi, and Maillol
After
before the turn of the century scarcely permits, except perhaps for Bourdelle, a prediction of
their genius.
Gauguin's sculptures, like those of Degas, are important in the sense that they offer proof
again that painters are more easily attracted to modernity than are sculptors. But as with
Gericault and Daumier, sculpture remained for these great artists a
pawn on
their creative
Gauguin clearly distinguished between the academic sculpture of his early years and what he strove to realize in
Oceania. There everything was different, as he explained in a letter to Daniel de Monfried in
1897: "Sculpture! You must admit that it's very amusing, and either very easy or very
difficult very easy when one looks at nature, very difficult when one wishes to express something a bit mysteriously by association. Tojind the forms
what your friend, the little sculptor
from the Midi, calls to deform.**
In transposing the Polynesian style, Gauguin has a more savage accent in his sculptures
than in his paintings. But as a European he could not prevent himself from giving his works,
though barbarous and bizarre, a Western imprint. He took pains to tone down at least the
expression if not the facial features, as subsequently was done by Lehmbruck and Barlach in
Germany.
:
As early as 1895 certain young sculptors, pupils or disciples of Rodin, broke with the master,
convinced that it was impossible to go further in the direction he had chosen without falling
into excess and mannerism. Some, like Bourdelle, retained a Romantic quality; others,
Maillol for one, strove to rediscover the sources of a Latin and Mediterranean tradition.
Bourdelle was no revolutionary, but in drawing away from Rodin and by leading sculpture toward the paths of Expressionism he was responsible, unconsciously or not, for the
prodigious revolutions soon to explode in the plastic arts. Initially the muscular efforts of his
figures remained half concealed, but soon the impression of semidivine power which emanates
from his works accentuated the grandeur and nobility of his compositions. This son of a shepherd, this man of the soil infinitely sensitive to the profound vibrations that agitate everything
that has form, aspired to express these effects more than anyone had done.
In 1921 Waldemar George marked Bourdelle's importance for the twentieth century:
165
166
"Initiated into the art of sculptural manufacture, he then used every effort to abolish
it
and,
At the century's end, sculpture reflected a trend that is also found in literature. Turning away
from Romantic symbolism, a number of artists preferred the serenity of the Parnassian movement.
Following the Dreyfus scandal there arose a new society that was atheistic, intellectualized, and virtuous, the enemy of a dying morality. It was a society that found in the image of
the past not the sources of rapture that had produced a false medievalism, but, rather, themes
for meditation and inner calm. Maillol, like certain other painters and sculptors, by using what
seem the simplest means, succeeded in becoming a Hellenist while also refusing to yield to
academic conventions. Scorning aestheticism, he proclaimed himself a humanist. He strove
soberly to rediscover the sources which had nourished the Greek artists of the sixth century
B.c., and recreated in clay the most simplified forms he could see. Free from any combination
of pseudo-intellectual or moralizing principles, his work exudes a sense of happiness and
serenity.
During that time sculpture in most countries of the West is marked by similar contradictions.
Germany, in the wake of its victories at Sadowa and Sedan, was seized by an embarrassing
admiration for all matters historical. Reinhold Begas, a passionate admirer of the painters
Boecklin and Feuerbach, continued to be a mannerist in sculpture. Only Adolf von Hildebrand, along with Hans von Mares in painting, disdained patriotic and anecdotal subjects. As
sculptor and architect Hildebrand created in Munich the fountains of the Wittelsbachs and of
Saint Hubert, still among the most important sculptural works of the nineteenth century. By
the simplicity of line allied with his feeling for the monumental, Hildebrand has much in
common with certain twentieth-century sculptors. But Max Klinger, on the contrary, attached himself more willingly to the Art Nouveau movement by his excesses in using and
combining precious and strange materials some of his works are among the oddest in the
entire history of sculpture. Klinger's striving for effects through his materials often interferes
with his dramatic sense. His Beethoven, for example, despite its exoticism, is less moving than
the portraits of Beethoven carved by Bourdelle.
Around Hildebrand there flourished a group of young talents, such as Louis Tuaillon and
the more precious Franz von Stuck. Only Wilhelm Lehmbruck, taking his inspiration first
from Rodin and then from Maillol, would orient German sculpture in a new direction.
In Belgium the verve of Jef Lambeaux served to counter the exquisite genius of Victor
Rousseau, tinged with aestheticism, and the sometimes too insistent simplicity of George
Minne. The latter artist, first a disciple of Rodin and then an admirer of Constantin Meunier,
in 1898 gathered around him at Laethem Saint-Martin, near Ghent, a small coterie of artists
whom he tried to inculcate with his own taste for pursuing the study of his materials to the
point of stylization. In his last years however, after having been one of the great precursors of
contemporary art, Minne returned again to medievalism.
In the United States, particularly in Chicago and New York, a new era had arrived in
architecture, especially that by Louis Sullivan. Sculpture, however, remained resolutely conventional, and it had to wait for the maturity of Paul Manship to initiate a sculptural expression capable of raising American art from its decadent lethargy.
;
THE EVE OF THE TWENTIETH CENTURY; EXPRESSIONISM; THE RETURN TO THE GREEKS
167
At the close of the nineteenth century, Bourdelle, Maillol, and Lehmbruck were opening the
way to Lipchitz, Laurens, and Zadkine. But it was especially Bourdelle, and Brancusi after
him, both born in a peasant world, who would be the gravediggers for the "cadavers," their
name for academic works.
1.
Large
Warrior (detail).
War
Franco-Prussian
10.
this
The Lovers,
c.
1909.
men
A refreshing study
famous work.
Wax
style.
2.
du Louvre,
There
is
Paris
11.
Perseus
Perseus, with the help of Athena, cut off Medusa's head, and
another version of
Museum
of Fine
12.
Arts, Boston
Lechery. 1889.
length
JEAN ESCOULA(1851-1911).
5.
c.
1870.
Black marble,
Little Girl
Suffering.
Lion.
4.
c.
Nemean
Crying.
New York
1894. Bronze.
fundamentally
in particular, in a
Paris
who began
as a
painter but
dif-
became
Mother Weeping over Her Dead Child. 1886. Bronze, height 18".
14.
art
developed which,
the psyche.
7.
15.
Bronze,
1898.
height
26".
Muses
Royaux des
ism.
8.
c.
sculpture after he
moved
up
to Italy.
this
work done
sammlung, Basel
16.
Museum
Beaux-Arts, Brussels
The
Solidaritj.
Bremen
new
spirit, the
century.
ny, Paris
um
Full-size version
is
of Art,
New York
Here Saint-Gaudens'
style
somewhat resembles
that of Hilde-
168
26.
Bom
HER.MANN HAHN (1868-1942).
18.
in
is
disciples.
Wood,
Museum,
Amsterdam
LOUIS TUAILLON (1862-1919).
19.
DALOU (1838-1902).
The
stylistic diversity
subject matter.
The
Secret.
1917. Marble, 19
12
8". Muses
Royaux des
Ny
Carlsberg
dedicated
classicist,
in the Water.
1896-97. Bronze,
Bremen
30.
height 2O2".
31.
EDMUND STEWARDSON
5'
7". Kunsthalle,
32.
(1865-1892).
worked
The
Museum
of Art,
New
Crouching Woman.
lived and
25.
Beaux-Arts, Brussels
York
Bremen
German sculptor
7". Private
all classification.
This
Florence.
Glyptotek, Copenhagen
12
him outside
The Sluggard.
13
productions.
Beaux-Arts, Brussels
23. JENS
29.
puts
A work made
22.
Painted bronze,
collection, Paris
in
Rome.
Viemy,
1899. Plaster, 39
Paris
Wood,
Viemy,
nr
III
fF
10
11
12
13
20
21
fl
]l
im
23
25
Ill
Tfl
33 <4l
lO.
THE WORLD OF
Workers
accompanying
WORK
by including humble artisans the Church demonstrated that, though it could not improve their lot, it was
obliged to help them endure an existence inexorably chained to misery. To join others on the
great religious monuments, to see one's everyday acts sanctified in stone or bronze, did this
not earn a laissez-passer, a certificate of good conduct for the beyond?
About the close of the sixteenth century one finds again in certain works this wish to
"return to the people," in accordance with the spirit of the Counter-Reformation. A laudable project, but stamped with prudence by such as Bassano, the Carracci, or Louis Boulogne.
Some artists dared to show workers in their customary sordid surroundings and wearing their
everyday shabby clothing, but they never appear to be suffering from their lot. And the artist,
to avoid upsetting the sensibilities of art-lovers, often brought in supernatural elements, such
as Venus visiting the forge of Vulcan. Nor did the artist turn easily to portraying himself in
his daily occupation when he did, he used the pretext of the old and often-treated theme, the
peopling the capitals, portals, and
legend of
St.
Dutch sculptors in the seventeenth century did, in fact, portray their clients in working
clothes, but this was at the express wish of their sitters, craftsmen grown wealthy, who put
on make-believe costumes and then struck conventional poses, as in the ensemble executed for
the tailors' guild in
Hoom.
The world of work is excluded from Versailles to symbolize work in the fields or at the
forges it was thought more elegant to enlist the gods of Olympus. Only the surintendants of
building
Lebrun or Mansart were deemed worthy of the king's notice. The court, oversensitive toward labor, preferred to ignore the hundreds of men and women employed in dig;
who
From time
to time chance
When Queen
art,
came
181
182
mantic and early socialist leanings of certain inhabitants of the New World. In addition, the
"ideal Negro" had a noble bearing that made him worthy of representation in the eyes of the
Neoclassicists.
Ultimately the unending quest for the Beautiful took precedence over any reactions to
political or social movements. If amateurs and critics were offended by the idea of replacing
in their rags,
it
'(
consumer society
still
to
come.
>
THE WORLD OF
WORK
183
United States the problem had already been solved. The economic situation of
workers, who were much more integrated into the social system than their European counterparts, and the privileged position they enjoyed in a young nation in full expansion, explain the
absence of a realistic and revolutionary art in that country.
In the
7.
The Shepherd.
Gallery, Athens
The
8.
along
as
of ritual ballet
those
who
work was
practiced
it
still
thought of
as a
of
as a gift
kind
God and
at the gates
of Heaven.
Muse-
Statens
Picardie,
9.
Muse de
Amiens
StonecTusher
The Carter.
Modema, Rome
34
29". Muze-
"good" workers.
Narodowe, Warsaw
in attitudes of resignation
10.
reliefs for
saw.
4.
871-1902).
um
(1
Moscow
2.
3.
GEORGES-HENRI GUITTET
Museum,
Moscow.
Young Girl
Statens
at
Well.
the
Museum
Before
for Kunst,
1854.
Bronze, height
11".
12.
Copenhagen
medallions.
when
Vaccine.
Modema, Rome
exhibited in Paris in
1878.
5.
Grieving Shepherd.
Budapest
13.
Parisian
field
in peasants
whom
he de-
Paris
6.
Maid
et d'Histoire,
6".
Muse d'Art
Geneva
as usual, strove to
chambermaid working
for
14.
1865).
bourg, Paris
Muse du Luxem-
184
15.
Harvesting
Woman.
Royal
Bronze.
Palace,
Soestdljk
(near
17.
AIMi-JULES
in
Amsterdam. Bronze.
21.
18.
DALOU (1838-1902).
method), height 6". Collection
22.
DALOU (1838-1902).
Bronze (lost-wax method), height 4". Collection
AIM-JULES
Arts, Brussels
A miner
lies
dead after
a disaster
23.
sels
Nazionale d'Arte
emotion beyond
in a
coal mine.
Potato Picker.
Alain Lesieu-
tre, Paris
20.
Utrecht)
that of
Monument
to
Modema, Rome
the laborers who died
c^tv
11
12
r.i^n
13
wt
21
11.
Throughout time,
men
Rome
sculpture immortalized the features of great generals. The Christian world remembers the names of certain men who seconded their princes in jousts, leaving to the
populace the obligation to kill one another for the greater glory of those princes.
Since the French Revolution the masses tend to identify themselves with the idea
of the Nation; and every schoolboy is made aware of the calling up of the citizenry to defend
its
The writers Stendhal, Hugo, and Zola have described those prodigious and dramatic
confrontations where a people, convinced of the justness of its ideals and commanded by those
judges to be best, clash on the battlefield with another people equally convinced of the
merits of their cause. In principle such conflicts have the objective of guaranteeing the fronit
tiers of
life
The Napoleonic wars caused the development throughout Europe of nationalist sentiments that were quickly pushed to the extreme. For the first time artists who belonged to
different nationalities refused to meet because their countries were in a state of war. In 1802
the English sculptor Flaxman, during the truce following the Treaty of Amiens, broke oft
all
193
194
seem immediate,
since
we
now
divided
in the
larity.
Across the Rhine Kaiser Wilhelm, the Rhineland industrialists, and the Berlin bankers
and their daughters all wished to be shown as descendants of the Nibelungs. Torsos snugly
sheathed, helmets
plumed from
After 1880 the annual Paris Salon was invaded by patriotic sculpture which aspired to
equal realism. Sculptors and painters gave proof of their strong consciences: according to
mm
HISTORICAL
AND MILITARY
SUBJECTS
The success
19S
everywhere
is
explained by
its
power
from
Mans
remain so
to reconstitute a scene. Painting cannot re-create the dramatic intensity that emanates
such as the Marshal Ney of Rude or, perhaps even more, Croisy's monument in Le
erected to the glory of the Second Army of the Loire (p. 200, 57). And this was to
until sculpture itself became outclassed by the ultimate in colossal spectacles, the films of an
De
Mille.
1.
Monument
height
to
8';
c.
New York
An
work inaugurated
This monumental
curious.
The Admiral
in
1881
is
as beautiful as
is
some
work of
nation.
Of
FLICIE DE
FAUVEAU (1799-1886).
to
to
Tsar Nicholas
I (r.
8.
wood
her
a dissident; in
own
bom
bank
took refuge in
Rochefoucauld.
In
de
a studio in rue
who would
usurp Charles X.
after
Paris
at the
10.
Monument
to Cervantes (detail):
in
the Lions.
1835.
in
work, unprecedented
in
attractive
settled
America for
its
size
and
Madrid
The
D.C.
DUART (1806-1871).
presi-
Oath (1789).
life.
JOS PIQUER Y
Florence in 1839 and remained there for the rest of her long
3.
Bronze,
9.
in Florence,
Portrait
father's
1838.
when her
expresses
frame, 13^
it
command."
to
7.
this statue
Monument
but
was
perhaps an adolescent
Bourdelle.
2.
it
City.
it is
6.
statue of Cervantes
is
two pedestal
sculptor of the
is
the
the
sum
Italy,
reliefs.
of
five
in the
rotunda
Monument
lege,
William Jones.
to Sir
A work
Oxford
both moralistic and well composed. The famous
and philologist
11.
is
jurist
"Imaginary portraits" of
Paris
this sort
were
satisfying
on condition
Bronze relief
Madeleine, Paris
All the reliefs
as this representation
la
in 1942.
figures over
II
196
&
V.
Saint
lifesize.
Theaterplatz,
Weimar
The monument
the fatherland."
to J.
Void
(Meuse)
The
is
Monument
as a
a horseless carriage
is
podium includes
all
time; the
reliefs are
due to
Philip (182475).
powered by steam.
AUGUSTUS SAINT-GAUDENS (1848-1907).
Abraham Lincoln. 1887. Bronze, height 38" (reduced
16.
14.
The marble
(1828-1905)
is
surmounted by
Weekes (1807-77).
Painted or sculptured portraits of statesmen remained necessary until such time as color photographs could be printed in
vast
15.
replica).
Jersey
is
IIJ
HISTORICAL
17.
D.C.
Modeled in
Washing-
to
Pushkin
(1799-1837).
1899.
21.
Bronze on granite
General Dufour,
in
who
stitution of Switzerland.
Monument
187984.
to the
22.
Sonderbund
Memorial
I.
John
Monument
Cherbourg
ton,
18.
197
to
the
(1822-49).
1882. Bronze.
was killed
in the revolution of
his native
Hungary.
198
Monument
23.
Napoleon.
Dying
The
Marble,
1866.
57",
height
Gardens,
whose gaze
is
the
59^".
height
work shows
own
the
misdeeds.
36.
Liszt.
mon moulin)
he lived nearby
Monument
Franz
de
as
Gardens, Annecy
Moscow
Tretyakov Gallery,
Marble,
1875.
(1530-84).
Terrible
(^Lettres
35.
Ivan
Couronne, Nlmes
sculptors.
la
Daudet was
Chteau of Versailles
The
de
to
Ward
Henry
to
Beecher
(1813-87).
1891.
Bronze
Plaza, Brooklyn,
New
from
Cadman
York
pest
work
a naturalist. In his
particular
Regent
as
fled
and
its
38.
Vienna
architects, painters,
Portrait
Friedrichstrasse,
imaginative conceptions.
Tropez (Var)
King Leopold
28.
37.
sion Building,
MONTAGNE (1828-1879).
27. PIERRE
of
Vitellius.
Craiova, Romania
The date of this work by the modernist Brancusi
inclusion here, and the expressive head
Arts, Brussels
is
justifies its
already evidence of
Am-
sterdam
Popular Dutch poet (1756-1831).
30. EMMANUEL FRMIET (1824-1910).
Mounted Torchbearer. Model, Salon of 1883. Bronze, height 9'
Ville,
burned
Commune
in the
built in 1882.
make
31.
THOMAS CRAWFORD
(1 81 3
his art
as
in the
United
Italy,
and his
States. This
figures
work
on the Capitol,
Washington, D.C.
monument
is
33. PETER
into
(bom
1873).
Rear"
One More
Museum
Shot.
of Art,
New
York
40.
to Ivan
Krylov was
man
Andreyevich Krylov.
famous writer of
An Episode
Galleria d'Arte
1812. TerracotU, 23
41. FRANCIS
CHANTREY (1781-1842).
Monument
fables,
is
decorated
Cathedral,
to
37".
Modema, Turin
come
impression of equality.
Hungary.
Monument
learn
23i". Metropolitan
dedicated to the
we
"Wounded
This
19,
being, and, as
39.
32.
monuments
was made
Historical Society,
City
Crawford learned
talent
New York
the public
chael the Brave, Frmiet for Stephen the Great. Only with the
?-1857).
New York
The Htel de
c.
1812.
London
St.
Paul's
HISTORICAL
Napoleon on Horseback.
15".
Private
Lafayette
HERMAN VILHELM
the Marquis
first
arrived in Philadel-
Museum
J.
English sculptor,
Wills.
1865. Bronze.
men
expired on the
(186061).
Summers, an
more
their
who
expedition
died in
Rome,
realistic
and nationalistic
specialized in portraiture.
Certain of
effects.
.Memorial to Robert
Denmark
Bissen's
Bronze. Fredericia,
phia in 1777.
National
BISSEN (1798-1868).
collection, Paris
43.
48.
199
relief
commemorates
the Danish
Holstein in 1849.
49.
LISA
Monument
BLOCH (1848-1905).
to
870. 1896.
WELONSKI (1849-1931).
Muzeuni Narodowe,
Cracow
Welonski was thoroughly trained
Paris,
in
Warsaw,
St.
Petersburg,
and Rome.
46. ADRIEN-ETIENNE
GAUDEZ (1845-1902).
50.
Women
in the Revolu-
Tours
47.
in the
environs of Paris.
Society,
London
Like Bell and Gilbert, Foley was a sculptor
Lafayette.
waged
his life
who devoted
basis
part of
and
fabri-
200
sold. Foley
most noted,
is
which he
also did
This remarkable
work
Asia.
51.
Museum
Gilbert
is
at his best in
and
An
Museum,
1958
castle
to
Castle,
1".
set
in
1475 against
Louis XI of France.
Lachaise,
1902).
1904.
the Loire.
Cimetire du Pre-
the Second
Rpublique, Le
la
to
Mans
Paris
is
Mo-
dema, Turin
Aimy oj
53. FRDRIC-AUGUSTE BARTHOLDI (18341904).
The monument
CALLANDRA (1856-1915).
(d.
time.
at that
to create a
Hungary. Cluj,
56.
first
Spiez, Switzerland
owned by
fine.
arts.
Basel;
monumental
excellent
monumental
Monument
In
was especially
ornamental sculpture.
crusader against
as a
War.
battle
f
)
mmmm'*mm0mimm0iV!fi
'm
10
11
13
16
17
\
I
I*
18
TO
Dttt(i^?li
19
20
21
22
L,l
29
31
^rw
---*'-
El
39
40
^t
jl
41
42
43
45
46
47
48
49
>,'
!
50
51
52
53
56
if
57
12.
and your
grown old
city
eyes are
in
drawn upward,
far
taller
CHARLES BAUDELAIRE,
"Salon of 18S9"
monuments are as old as the cities they decorate. They are scattered among the
Public
streets of ancient cities, they animate the campi of Venice, the Florentine piazzas, the
bridges of Paris.
triumphs
survive.
In the nineteenth century, acceleration of changes of regime, the new^
Romantics judged
it
monumental
statuary.
right for nations to exalt the virtues of their finest citizens, and for
Baudelaire the "divine role" of the sculptor consisted in recounting "in a silent language the
counts for the flourishing of commemorative monuments. Etex tells us of a visit he received
one day from a Monsieur Balnette, "a worthy gentleman of means," who, although speaking
in his own name, described the pleasure to the inhabitants of his town of Cognac in having
monument
erected to the glory of King Francis I, a native son. The financing had already
been worked out the municipal council would vote the project a credit of 20,000 francs the
were
and the
city 20,000 to these sums would be added the subscription of 3,000 petitioners, each pledging 10 francs. Unfortunately the merchants of Cognac backed out, victims of a poor vintage
year; Etex's equestrian statue was not erected until later.
;
22S
offering another
60,000
francs,
226
The inauguration of any monument was the excuse for a pubHc turnout. The great day
an occasion to spread the
arrived, the statue would be unveiled by the government official
good word and submitted to the judgment of the citizenry.
new
republican, secular,
their sculptures such as Electricity or Steam (p. 112, 19, 20) are remarkable for the genius
shown in realizing works whose originality symbols intermingled with technical apparatus
as
symbolize Genius he proposed a half-dressed woman leaning against a factory smokestack and
the front of a locomotive in her right hand she would brandish a torch ending in a star lit
by electricity; with her left she would point to an electric generator. To enhance the effect,
steam mingled with jets of water would spurt from the lower plinth. The ensemble was to
rest on a pedestal adorned with profile medallions of the century's great inventors.
If ornamental sculpture was slow to reflect the changing mode throughout the century,
this was because it was intended for the man-in-the-street, a conservative by nature. Thus
monuments of the beginning of the century seem touched by the Baroque as the decades
passed they became Romantic, and then out-of-date
they were full of symbols when Art
Nouveau was already in the making. In 1900, when the schools of Vienna, Glasgow, and
Darmstadt were already resolutely turned toward the future, Raoul Larche, invited to design
an outdoor pool for the north wing of the Grand Palais in Paris, conceived a monument which
is certainly charming but has an archaic eighteenth-century grace scarcely reflecting the
modern Art-Nouveau
style.
finds the
same phenomenon.
In the parks of
London
and Brussels, in the public squares of Oslo, St. Petersburg, Madrid, and Lisbon, space is given
to hundreds of works, usually decorated, like set pieces, with the help of the most disparate
decorative elements. But despite the excesses of some of these
the equestrian Vittorio Emmanuele II by Ercole Rosa erected on the vast square before the cathedral in Milan or Johann
Schilling's thirty-four-foot Germania looming over the Rhine near Riidesheim
and even because of their exuberant singularity, these sculptured masses perhaps confer to the personages
represented a semidivine majesty that was beyond the powers of a Neoclassical work.
Through the richness of the monuments that they harbored, Milan, Rome, Turin, and
What would
the eclectic architecture have been like without this prodigious efflores-
cence of sculpture? Let us imagine the Opra of Paris deprived of all those stone figures that
populate its pediments, approaches, roofs, and faades! How manv mediocre buildings owe
their life to those Rubensian divinities who, plump as balloons, buoy up the faades of ministries and banks, and seem to keep the buildings from sinking into their cellars, victims of
their
own
weight.
SCULPTURE
1.
monument
to
THE STREETS
4.
Alexandre Dumas
pre
monuments to Dumas
Dumas pre, and Dumas Jils (the first monument
destroyed in World War II). Dor made sculptures only at the
Originally one of a group of three
grand-pre,
5.
Monument
2.
1840-45
his life.
227
end of
IN
Gaspard
to
Monge.
1848.
Bronze,
Place
Monge,
Beaune
a physicist
Admiralty, Leningrad
large
Zakharov.
nowned
sums
for
monuments
is
most
re-
the mainstay of
their wealth.
3.
As
monuments
we
are
'^(XiO^l^'i^^
St.
8.
_--
The Durance River Between Corn and Wine, central group on the
=-
scale. Pa-
Longchamp, Marseilles
Yc
i/i
Pr KP
cl"i
.(^'^C
ill
228
9.
The
architectural part
personification of
10.
Rue de
la
R-
Rouen
publique,
is
Rouen
is
granite fountain
is
186S.
The
Henri-Joseph
Ducommon du
minimum
18.
Basin of the
12.
principal
and Loir.
an
sea,
to
King
Vittorio
marble
Fmmanuele
II.
Duomo, Milan
monument is not lacking
it
calls to
mind, with
Palais, c.
19.
Sea-Horse,
portion of the
Wittelsbach
Fountain,
An
admirable
monument conceived by
an artist
who succeeded
from Rude to
Grand
in creating a
Monument
that
work of
Youth
14.
of affectation, the
Monument
1942)
Stockholm
in
13.
its
down
The
material, gilded.
del Oeste,
Genoa
At
a native
Monument
to
lianstrasse,
The
King Maximilian
II (detail).
look the
way by Hildebrand or
first
the naturalistic
Maillol.
21.
Munich
Fountain.
See also above, 19. These groups flank a central fountain, and
represent the fertilizing and destructive aspects of water.
jl
i^
l[
Lili.
i^-i'r
i-n
i
^
^WBPW
3
III
"
'
I S
^
SQ
-d
^^^w
i.
GASPARD MONGE
t
SES ELEVES
ET
SES CONCITOYENS
vt
10
11
gH MliM
13
flilISSJ
ir^iJIBl Ifiliij
14
it
18
19
20
21
13.
DECORATIVE SCULPTURE
Here then we have the art which,
in order to improve itself, turns back to its infancy.
The only
not they
who evaded
STENDHAL,
difference
detail,
it
is
that
it
details.
was
1817
power an emperor-president
person of
III, and with him a thoroughly middle-class society, the academic jury of
the Salon reared its head. Now, in the twilight of Romanticism, could academicism
not shed its light again .upon the arts? Napoleon III and his artistic adyisers were
aware of the battle between two modernist currents. Naturalism and the new
Impressionist school, but remained noncommittal. If they found it repugnant to reyiye Neo-
After
Napoleon
many
of
be practical jokers.
On
in the
Naturalists
to
new
its
forms.
By 1860 the Paris press was already speaking of a ''style Napolon III.'' The court adroitly
let it be known that this was not a "Napoleonic" style but the artistic expression of the age.
Soon the new style, so well matched to the aspirations of its time, seemed so satisfactory that,
baptized "Napoleon III," it survived the fall of the Empire and remained in favor until the
First World War, though termed from time to time ''style jules-Grvy'' or even "style ArmandFallires'' in honor of current presidents of the Third Republic.
On the whole, for all that it proclaimed itself hostile to the neomedievalism which had
served for more than half a century, the new style did not succeed in shaking off the images
of the past. From "Gothic" the taste now passed to "Renaissance." The nineteenth-century
middle class, nourished on historical novels, felt satisfaction in being identified with the notables who, four centuries earlier, had ruled the rich and proud Hanseatic cities.
In addition the demolition of Paris carried out by Baron Haussmann was followed bv the
remodeling of at least a tenth of the area of Paris, which accounts for the need to discover a
new style. There was a dream of reviving the dcor of the chteaux of Fontainebleau and the
Loire, Sculptors caressed blocks of marble with their chisels in the hope of bringing forth
female figures as chaste and sensual as those carved bv Germain Pilon, Upon architects and
decorators it was incumbent to translate those outmoded visions into a new decorative design.
The product of these amalgams did lighten the massive aspect of a good many public monuments and was not always as disastrous as one might imagine.
Between 1850 and 1890 Lefuel first, and then Garnier, excelled in realizations in which the
functional, the pompous, the orientalizing, and even the scientific, blended in various ways,
affecting the decoration of the Louvre, the Opra, and the Cercle de la Librairie in Paris, and
the Casino in
Monte
Carlo.
237
238
239; p. 240,
9,
In Great Britain it
10,
Paris.
See also p.
11
Caryatids. Silvered
To
their
amalgam of
all
Queen Anne.
In Germany and Austria Boecklin and Feuerbach, the greatest influences in painting, affected comparably the official style of sculpture. Germany found the new style wholly to its
liking; it corresponded well with the ambitions of a people whose new buildings were erected
in the wake of a series of military successes. The middle class was transported by dramatic and
that of the
disastrous) pastiches.
The
Museum
proclaimed
at the
in Vienna,
DECORATIVE SCULPTURE
239
who seem
It
was
to be sisters of the
The
And
ing;
able
many
showed more originality than painteveryday it seems clearer to us that the Paris Opra, which literally teems with remarkand original motifs, is one of the most unusual and perfect monuments of the capital.
yet, despite these
Clodion.
1.
2.
Dawn and
du Luxem-
4.
5.
Opra, Paris
hailed
him
as a
second
Torchre.
bourg, Paris
6.
240
The
Traveller's
Piermarini.
priestess of Apollo
is
\'ille,
shown
her
good
eclecticism from Art Nouveau.
differentiates
still
is
very con-
halls in the
crowned by
Hotel Waldorf-Astoria,
9'.
New York
Made by
the Goldsmith
Company, London,
PIERRE-ALBERT LAPLANCHE
(bom
figures,
1854).
ornaments
AI.M-JULES
13.
in
Htel
9.
con-
Clock
12.
Libert/.
example of what
who
htels,
The
Paris
1836-1879).
ceramic.
glione-Colonna;
and
enamels,
Club,
malachite,
7.
Bronze,
Fireplace.
11.
.^fusic.
Victoria,
Franklin,
and six
DALOU (1838-1902).
lavish taste in
first a
as
a Polish
a countess in the
Jewess
who became
10.
AI.M-JULES
Dalou
is
Traveller's Club,
stag hunt.
in
is
transcended by roman-
seem rather
paternalistic societv'.
preciosity of a
Paris
long time
work
Dalou was
like this in
just as
which he
much
inclined to the
fireplace.
tic
tors
JACQUE.MART (1824-1896).
Fireplace.
ers'
of the Loire.
14.
Clock, c.
14.
about 1830,
Before
everyday clothing.
PORTRAITS
Rome
still
exercised
its
seductions in Germany,
Great Britain, and, most of all, the United States public figures wished to emulate
those who had contributed to the glory of the Roman Republic. The toga went well
with the faces of American generals and law^^ers. One could swear that their busts came from
the atrium of some Roman villa each bears his special garb like an actor who willingly poses
in his costume. Europeans of Latin or Germanic background, ever conscious of uniforms and
medals, posed in them for posterity. The Revolutionary fur hat decorated with the tricolor
cockade, worn by Philippe-Egalit, cousin of Louis XVI, tells us much about his character;
and neither the Order of the Holy Spirit nor the royal ermine could refine the cowlike face of
Charles X.
;
had become aware of their power did they dare to be represented in their ordinary apparel. Farmers-general and parvenus had already done so in the
eighteenth century, wearing rich but bourgeois garments and displaying a goodhearted and
decent appearance.
To the degree that Romanticism yielded to Realism and Naturalism, the formal pose
seems to yield to the instantaneous. Writers are caught at their desks; painters, palette in
hand, seem to say, "Don't interrupt me, I'm working!" women, more prudent, are getting dressed
often in evening gowns with pretty, lowcut necklines. Toward the end of the
century, oddly enough, men took to baring their chests to mark their nonconformity. This
practice was no longer a matter of borrowing the torso of some handsome model, as had been
the custom since Antiquit)'. The sitters for Rodin and Bourdelle display their often defective anatomy as if a certain deterioration was proof of the struggles they had to endure to bring
classes
was many years before the daguerreotype supplanted the painted or sculptured portrait.
Before that occurred it was the ambition of each generation to discover the artist who made
the best likeness. Every personage of national or local fame, whether in arts, letters, or politics, and every well-off bourgeois thought he had a duty to leave behind him the image of his
It
presence.
1820 David d'Angers, who saw the profit to be made from the portrait medal,
offered places in his Pantheon to various important people. The writer Alfred de Vigny sat
for him in 1 828 sometime later, in thanking the artist, he said "I have my medals before me
my eyes keep passing from glory to glory and from friendship to friendship while glancing from
the face of my dear Victor to your own name." Victor Hugo, Alphonse de Lamartine, Delacroix, Gricault, the mathematician Monge, and the scientist Ampre were among the celebrities, Chateaubriand utilized the hours of his sittings to dictate his Final Advice to the Electors; the portrait finished, he offered a reception in honor of the artist, who noted on the
following day "1 dined yesterday at the home of Chateaubriand, who had assembled an elegant
Soon
after
249
250
and choice group for the inauguration of the bust I made in homage of him. All through the
evening the great man was distracted, ate little, his head bent toward his left shoulder, looking
at the ceiling with a contemplative air."
To each sitter David offered two bronze proofs of his portrait mounted in a panel of oak
or ebony. And not only did he accept every commission, he also solicited them. To meet
"Monsieur de Goethe," who was not alwavs approachable, David did not hesitate to present
himself unannounced at Weimar, on the chance of seeing him. "A lost cause," he said after
a few tries, "a weird, bad-tempered fellow, one doesn't know which bug has bitten him."
Finally the door was opened and the two spoke to one another. The poet, after accepting a
gift of portrait medallions of Victor Hugo and Delacroix, at last consented to pose.
All this success ended by exposing David to the attacks of fellow artists and critics. The
Romantics, Petrus Borel in particular, had it in for the artist who, in his Young Greek Girl
(p. 334, 42) and his Monument to General Fay (Cimetire du Pre-Lachaise), had betrayed the
Romantic ideal and had "copied nature and cultivated tradition."
Throughout the century the importance of a good likeness remained fundamental, and
one can scarcely imagine how Balzac would have welcomed Rodin's Balzac. But one gets a
good idea from reading through the letters he exchanged with David d'Angers when the artist
proposed in 1842 to add the profile of the illustrious novelist to his gallery of famous men.
At first the writer declined the offer. He loathed, he said, having his likeness taken, adding
that in his negative reply should be seen "neither ungraciousness nor conceit." David, accustomed to such replies, returned to the charge: "I know how precious every instant is to
you." Balzac agreed to pose, and the two medallions so delighted him that he dedicated his
novel Le Cur de Tours to the sculptor in the most gushing manner: "Will not future numismatists be perplexed by so many crowned heads in your studio w^hen, from the ashes of
Paris, they unearth those existences perpetuated by you beyond the life of nations, which they
will assume to be entire dynasties?"
Rodin was often concerned over the problem of resemblance and considered it an indispensable element. He was indignant when Henner thought it witty to reply to a woman who complained about her portrait: "Madame, when you are dead your heirs, happy to own a fine
portrait painted by Henner, will scarcely worry any more about whether it looks like you."
For Rodin, "the facial features must be expressive, because they must never be in discord
with the soul. This is why there is no artistic activity which demands at the same time as much
manual dexterity as intelligence."
The sitter was not to be surprised at the vision the artist had of him. People generally
have an idealized conception of their own appearance, and Rodin fulminated against everyone
in his generation whose sole ambition was "to look as if they had come from the hairdresser."
What matter if they find themselves handsome or homely: "Nature is always beautiful," proclaimed the author of the Burghers of Calais; "every face is interesting; the most inexpressive
will conceal some spectacle that is the more odd because the spirit forces itself to hide within
the shadow."
Although the
underwent
PORTRAITS
2S1
VII.
ered
Hat.
c.
Colored
1864.
plaster,
with Flow-
height 16".
Muse
Rodin, Paris
252
by darkening, imitate to the life the scinThrough the eyes he deciphered souls." Houdon's main
tillation of daylight in the pupil.
effort consisted of doing what was in his power to make the personality of each sitter break
loose from the envelope of flesh which, over the centuries, had taken on the fixed aspect of
a mask. But Houdon remained a man of the Ancien Rgime in insisting on maintaining a distance between the model and himself. Respectful of the truth, he exploited everything hidden
behind the visible mask but knowing that he was the sculptor of a protected w^orld, he undertook to reveal of his sitter's character only what the model allowed to show through. Yet a
certain manner of giving life, both Neoclassical and realist, to his portraits, of letting through
a flash of joy or a wave of sadness, makes Houdon a modern man.
it
'
'
lively
light or
found
work
of David d'Angers.
The
commissioned
statues remain hopelessly Neoclassical, whereas the medallions suddenlv betray his Romantic
passion and bear witness to a profound change that had occurred in the sculptor's status. It was
no longer the possession of money that infused the Romantic artist with passion, but rather
the independence that a sure source of income could bring him. Having acquired his materiand we have already shown that the price of basic materials requires the sculptor, more
als
than any other artist, to seek commissions
and solved these problems, the artist was free to
carve what he pleased according to his inspiration. "The best works," said Rodin, "those
that come closest to the truth, are often those which were made gratuitously. To work freely,
by suppressing a certain obligation toward the client, permits the artist to carr\' on as he thinks
similar duality
is
to be
in the
faces of his
best."
From
chose his
sitters
Daumier and, even more, Rodin were to push on to a new and difficult phase. With them, the
time and manner of posing had altogether changed. The artist, before making the face in clay,
prowled around his prey for hours, sometimes months. The model, growing tired, would let
then the artist could steal behind the mask, seeking to discover the deeper
reasons that suddenly impress upon a face traits that reveal his confusion, his anxiety, his
dullness.
H^-
PORTRAITS
!.
Sir
Walter Scott.
his treasurer to
room;
satisfied
British novelist
Whatever
who wrote
less easily at
it is
is
which appear
But
if
one moves
Our
art
called
upon by
a distance, to
its
very
be appreciated
Although Rauch
in his lifetime
was
David d'An-
as successful as
works
in
finitely
charming bust
which anecdote
predominant
plays a
is
Here
a portrait
evidence of the
is
artist's
is
further
art.
11.
CLSINGER (1814-1883).
by the future."
2.
Berlin
RAUCH (1777-1857).
CHRISTIAN
9.
253
grasps the
sitter's
face,
ambitions, intelligence,
"M.
Clsinger sometimes
ele-
movement
Sabatier, a
"La Prsidente"
by some
12.
3.
Henryk Levittoux.
Muzeum Naro-
dowe, Warsaw
court sculptor
4.
at
Wurttemberg.
Several works in this chapter (nos. 12, 14, 15, 16, and 57)
are in the Thtre Franais, built
Home
Victor Louis.
Comdie
of the
Kunstsammlungen, Kassel
writers,
Of Dannecker
as a portraitist,
this to say
13.
a
in sculpture
of French
out-
in
Louis Desnoyers.
a
vestibule
its
standing roles.
model
Franaise,
Lachaise, Paris
The head
is
is
is
is
small. In brief,
horror."
who
7.
a great
number of
Kcamier.
c.
1802.
Marble.
Lyons
From
first this
finest
up
to the
am among
those
do not
find in their
14.
if
writer,
15.
me
George Sand.
who
our idea of
this
woman
tragedienne.
16.
the
lived
Madame
who
The massive
In attics throughout
friend of the
Nationalgalerie,
Berlin
German
in particular,
left
Clemens Brentano.
Nerval
Romantic
Princess
Desnoyers was
work by
GABRIEL-JULES
THOMAS (18241905).
a portrait
254
17.
Andrzej Zamoyski.
Muzeum Naro-
dowe, Warsaw
RAMAZANOV (1818-1867).
ALEXANDROVICH
NIKOLAI
18.
Vasil^evicb
Museum, Moscow
18". Russian
the physiognomy
Rush
fully
deserves to be consid-
brilliant
is
as
well
also p.
2.)
/,
of Russian literature.
25. FRANOIS-JOSEPH BOSIO (1768-1845).
DALOU (1838-1902).
Gustave Courbet. Marble. Muse des Beaux-Arts, Besanon
Courbet, the famous realist painter, made a few exceptional
AIM-JULES
19.
sculptures at the end of his life; see p. 88, 18; p. 255, 50.
Goethe.
as
monarchy led
to his
The Marquesa de
prud'hon (1759-1823).
27.
Terracotta (unfinished).
Muse des
22.
OLIN LEVI
WARNER
Museum
17^". Metropolitan
ries,
as a painter.
the
of Art,
23. JOSEPH
life
after
and
four-month-long
a reservation.
aristocrat-revolutionary
the
crafty, full
28.
the
life in
1838 while
Slave,
29.
34V.
height
Metropolitan
New York
"Make me
in
It
in 1835,
as
when
Wood,
height 25'
The
in
American sculpture.
REIS (1847-1889).
Museu Nacional de
Soars dos
The work seems a small masterpiece of lifelikeness presuming the model had as much simple good nature as he appears to
show here.
RAUCH (1777-1857).
Marble, height 22^". Museum der Bildenden
30. CHRISTIAN
in
Oporto
Leipzig
RUSH (1756-1833).
Rome, where
Goethe.
1812.
Marble,
lotine.
1835.
White House
nature always."
24. WILLIAM
of Art,
sixty-eight.
Reis,
CHINARD (1756-1813).
his title
Trotti.
Arts, Lyons
renounced
Count
New York
thousand-mile,
confinement on
The
Museum
flight to escape
Palacio
Madrid
Liria,
1830.
profile likenesses of a
in
in
CUBERO (1768-1827).
Ariza. Marble. Duke of Alva Museum,
Andrew Jackson.
modeled
many now
known
(1844-1896).
Warner, on
overthrow
Modema, Rome
An
de
de Joursauvault.
work could
mann.
Baroness
Versailles
21. PIERRE-PAUL
of France.
20.
King Charles
Kiinste,
p. 80, 5.
d'angers (1788-1856).
Muse des Beaux-Arts, Angers
PORTRAITS
MARKOS FYTALIS.
Old Woman of Tinos. 1887.
42. VIKTOR
32.
33. IVAN
Russian
Plaster.
Basin
(detail).
Bronze,
1872.
height 30".
Museum, Moscow
Academy of
St.
Petersburg, Basin
died in 1877.
I.
Karl Hillebrand.
Kunsthalle,
Basel
father by carving
37. CYPRIAN
Madame
wooden
who
saints
and animals.
1865.
Servais-Godebska.
Marble,
height
28".
revilly,
Artist's Wife.
GODECHARLE (1750-1835).
Church of
Saint-Sulpice, Paris.
Modema, Rome
GAUGUIN (1848-1903).
Madame Gauguin. 1877. Marble, height 13". Courtauld
Salon of 1872.
Bronze.
Petit
Insti-
London
medium
RODO
shows how
tended to remain
de
as
traditional
compared
niederhusern
and unchanging
to painting.
called
niederhusern-
(1863-1913).
2U".
Oeffentliche
Kunstsammlung, Basel
Palais, Paris
49. berthe
Gunnar
W.
Lundberg, Paris
morisot (1841-1895).
The
d'Arte
pupil of Rude, Franceschi did the statue of St. Sulpice for the
48. AUGUSTE
CARPEAUX (1827-1875).
41. ERCOLE
that
Giuseppe
Saint-Sauveur-le-Vicomte (Manche)
tute of Art,
39. JEAN-BAPTISTE
The
40.
47. PAUL
GODEBSKI (1835-1909).
Zofia
numerous
43.
46.
The
one.
liche
The writer of
Bremen
36.
c.
35.
Fiihrich.
Rodin, Paris
Austrian towns.
34.
Vassilyevicb
Peter
255
ROSA (1846-1893).
Garibaldi.
Plaster,
height 47".
Galleria
Nazionale
Modema, Rome
at
Emmanuele
II
in front of the
Milan
50. GUSTAVE
COURBET (1819-1877).
Madame Max
Buchon.
1869.
Bronze.
Collection Mouradian-
Vallotton, Paris
Mme
friend
Max Buchon,
lifelong
256
51.
58.
52.
Paris
Gunnar W. Lundberg,
Paris
Parnassian,
as a
later turning
toward Symbolism.
53. AUGUSTUS SAINT-GAUDENS (1848-1907).
Jules-Bastien Lepage. Cast in 1910 from a sculpture executed
1880. Bronze
relief,
Hj x
IO2". Metropolitan
Museum
He
in
of
cameo
New
cutting in
at the
Beaux-
new
to
\\
life,
is
here surrounded by
long beard,
imagine the
Jules de
Concourt,
beard of yellowish
his
to be
in
our garden.
60.
Head oj
and
me
prickwood shrubs
1881. Bronze medallion.
(Edmond and
people, with
lids, a
such
1886).
17,
A man
is
pubis;
American sculpture.
April
common
young
entirely
those of the
in
Journal,
He
as a
child.
"Bracquemond took me
man whose features are
light eyes blinking
New York
Art,
54.
Rome
Moderna,
59.
local flora.
BOURDELLE (1861-1929).
61. EMILE-ANTOINE
HONOR DAUMIER
55.
(1808-1879).
Beethoven
Self-Portrait.
lection, Milan
In its daring
this
work
is
of
122".
1889.
City
Museum and
Muse Antoine
Bronze.
bare,
height
Flowing Hair.
and modernity
56.
with
Bourdelle, Paris
it
my
shatters
being an
my
head and
infinite
my
on
life
to the
brow
my
soul laid
in the faces of
him
as
am
it
is
it.
have
they that
constructing,
England
they that direct their gazes, they that bring order to his hair"
War
I.
57.
Victor
An
62.
admirable piece
level
of Rodin.
in
in attaining the
1903, Paris).
and for
all.
9'
10".
^^
ft
14
19
41
21
1^
24
25
30
31
I'
32
33
35
38
39
v\
^.dg^J*
'M^k
44
xpT^. -'
.<S'
45
46
!|i
ill
47
49
51
52
53
Kl
^
WIS^F
%n "'#('
%T^^9lr^'~ S^^^^^HVVPV^VV^^^^^V^B^^^
|v
^^|fevi?*-*il^'t^l
il
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L^
B"^ rafies^BWH
B^^"*^
^^B&.
^"^^^^^^^^^39
^.%
P<^;
-5
^'^
sJ^
jL^
r!*"^K^^
fcff^^V
54
^s
m^Wf^,
5^*^^
^^ W:
Jt?f^
^^^^^I^^I^^^^^^B^Lw
55
56
57
58
59
61
CARICATURE
15.
Laughter
It is
wan
in
is
satanic;
it is
therefore profoundly
CHARLES BAUDELAIRE,
The
burlesque portrait
the
caricature
human.
own superiori^.
Curiosits esthtiques
already existed
in antiquity.
The Romans
its
importance
as a
redoubtable weapon
in the
way
of living monstrosities."
first
Daumier. Concerning
Daumier's busts of the French peers he wrote in the Curiosits esthtiques: "The artist revealed
here a marvelous understanding of the portrait for all that he loads and exaggerates the original traits, he remains so sincerely based on nature that these pieces can serve as models for all
portraitists. All the poverties of spirit, everything ridiculous, all the manias of the mind and
the vices of the heart can be clearly read and seen on these animalized faces." Daumier, like
Bosch, Hogarth, and Cruikshank before him, succeeded in creating believable monsters
which, despite the atrocity of their faces, remain "imbued with humanity," in Baudelaire's
words. Like those artists he uncovers in every human being what the face may reveal of the
ugly and the odd. But he alone succeeded in modeling in clay these "explosions of expression," as Baudelaire called them.
Raymond Escholier reports the admiration that Rodin expressed for Daumier when he
saw a bronze cast of Daumier's Ratapoil in Escholier's home: "His imperious eyes could not
be taken from that Ratapoil with its hooked moustache, pointed beard, hat cocked to one side,
frock coat flapping against his skinny hams," and Rodin, putting down the statuette, exclaimed "Ah the Daumier I knew when I started out with Carrier-Belleuse, that Daumier,
what a sculptor!"
;
285
di
286
M
Curiously enough Daumier, like Poussin two centuries earlier, very often used sculpture
to help work out a judicious composition. Geoffroy de Chaume was an eyewitness: "Once
those little manikins were set up, he took his pencil or brush and set his easel in front of the
working from life, he had swiftly made into a living image." He used
exactly this procedure for his famous plate of the Legislative Belly. Perhaps it was to Augustin
Prault, whom he met about 1828 at the Acadmie Boudin, that Daumier owed his decision
to model some of his subjects it has also been suggested that he was amused by Dantan's little
caricature statuettes and got the idea to try something of that sort.
For his terracottas, of no great importance in his eyes, Daumier used the coarsest clays;
full of bits of chalk, they began to flake off as they dried, cracking and falling to bits at the
slightest shock. Thus the pieces in the Malherbe collection have disappeared, broken even
before being moved. These clay models had for Daumier no purpose other than to be useful
tools for his work. And who would have dared offer for sale these ferocious effigies that were
images of individuals in high places? Publicly exhibited, they would have been confiscated
immediately. Madame Daumier was so afraid of the police that the Ratapoil remained camouflaged for a long time in a straw bottle-basket hidden in a corner. Determined to rid herself
of it, she was delighted to offer it to their friend Geoffroy de Chaume.
models
clay
that,
Alongside Daumier's sculpture there flourished another form of sculpture that was realistic,
caricaturing, and popular, and had a moderately comic vein freely resembling that of the
Dutch
Little Masters.
a Parisian, this
'
who had
much fame
Dan tan
the Younger,
as
in his lifetime as
of attitude than their characteristic expressions, his gentle caricatures "had the
pleasing certain of his victims."
of his
own image
It is
murmured
enough
gift
of dis-
for a caricature."
room
"furnished in an altogether artistic taste" Dantan received visitors in his working costume,
"a long Turkish dressing gown with Kashmir designs and on his head, in the easy-going studio
manner, a little velvet Greek bonnet." On the walls six shelves held 400 small plaster busts,
;
CARICATURE
287
of writers, scholars, poets, academicians, playwrights, lawyers, pianists, and composers, almost everyone (with a few exceptions) who had made some sort of name for himself
in the preceding twenty years or so; there was an tagre for counts, duchesses, marquesses,
a gallerv
another for members of the House of Lords and one for the artists and administrators of the Opra. When you had spent an hour or two of laughter in his caricature-room,
he would invite vou to relax in his bedroom, its walls papered from top to bottom with
Chinese paintings, pictures by old and modern masters, a head by Rubens, sheep by Brascassat,
a sleeping girl bv Vien, the portrait of Mademoiselle Joly painted by David, and many other
and baronesses
treasures."
artists,
life.
If
the bust of a
deceased person was desired, the family would bring in a daguerreotype, a painted portrait,
or a pencil sketch. Occasionally the situation could be somewhat more bizarre, as one can
judge bv the following anecdote (Mrime would have made a short story of it). One morning
Dantan was visited by a distinguished man whose face bore the signs of deep sorrow. After
Viscount d'Anglade, he said: "Monsieur, I have a sister on her deathbed, and I have come to ask you to do her bust. We have a portrait of her w hich may help you,
but for vour work to be as perfect as we wish, you must see her in person. But to bring vou
introducing himself
as
know
moment, would be
we
first ball.
Here
is
that
who
You
must choose the one that becomes you most." Whereupon Dantan for it was he playing the
spread out half a dozen jewel boxes on the bed, and while the sick
role of jewelry clerk
girl examined the jewels and her pale and charming face was fleetinglv brightened by their
beauty the watching sculptor made himself fix his model in his memorv. Some time later the
girl died, leaving behind her a completed bust, a living image in marble.
The following year a noble and sorrowful old man presented himself: "I am the father of
the young man vou received last year. Monsieur, my son is on his deathbed and I have come to
ask you for a portrait of him.." Dantan required a sitting to recall to memory the dying
man's features; father and sculptor sought a plan. Thev planned that his bedroom should be
redecorated; Dantan, disguised as an upholsterer's helper, his head and face covered with wig
and false beard, looked at the dying young man, who did not recognize the workman approaching his bed and pretending to measure it. Not long after, the bust of the brother took
its
288
HONOR DAUMIER
1.
(1808-1879).
Of
this,
bearded figure
who
'
'
Ratapoil
is
a monstrous, scrawny,
army
for theft, he
who
candidate.
fat
paunch
becomes
shady figure
judge on his
vice
illustration of
stories.
An
who
as
pats a
official
in
to be kept
6.
Yvette Guilbert.
Cappiello was
naturalized French.
Here
is
To our knowledge
this
is
artist.
2.
HONOR DAUMIER
(1808-1879).
Portrait
c.
Gemeentemuseum, The
1893.
Hague
collection, Paris
3.
Card
many
In
Players.
were
of this
artisan-artists
who thought of
type
sculp-
done
this caf
If
much
in
common
with the
produced
the office
number of
windows of
in
1832,
were exhibited
in
4.
JEAN-PIERRE
DANTAN (known
as
1800-1869).
Muse Carnavalet,
art.
'
'he
as
knew how
which
folklore
to
make
10.
The
Cellarer
1832.
Bronze, height
and
the
Devil.
1870.
DAU.MIER (1808-1879).
HONOR
DAU.MIER (1808-1879).
Portrait of Persil.
Terracotta,
height
9".
HONOR
sculpture laugh."
5.
c.
Paris
DAU.MIER (1808-1879).
Dantan was
HONOR
tion, Paris
E^r HAl'O
1/
10
16.
ANIMAL SCULPTURE
undergone various fortunes since the most remote antiquity, and most
civihzations offer innumerable proofs of man's genius at reproducing the fauna
around him. But for centuries in the Occident, however perfect the execution might
be, those who professed classical art were partisans of the Grand Style and disdained
animal sculpture. In the hierarchy of types it had the lowest rank, beneath historical
sculpture, portraiture, and of course below what was called Grand Statuary: no one could
experience emotion before even the finest masterwork of animal sculpture because it represented a soulless creature. The author of such a work was considered a hackworker. Often, it
is true, the artist scarcely deserv^ed more, as witnessed by that immense zoo of stone, marble,
and bronze created since the late seventeenth century to decorate the palaces and avenues of
European cities. In 1866, in the pages of L'Illustration, Thophile Gautier justly lampooned
those tiresome tigers,
those carved poodles wearing marble
"those academic lions,
Their dbonnaire faces, with almost
wigs la Louis XIV, of the sort called 'folio-sized.'
human features, look like the masks of noble fathers in the old comedies; their bodies
have neither suppleness
flabby, rounded, without bones or nerves, as if stuffed with meal
nor vigor; and one raised paw rests on a globe in a gesture which, one must admit, is scarcely
Animal
art has
leonine."
This
is
and conventional manner of noting movement. The horse, a "noble beast," was made
to prance in a sort of broken goose step, or else to rear up to its highest as if that were its most
normal attitude. This makes it easier to understand the reasons for the discredit suffered by
this genre in the early nineteenth century. In 1830 certain persons acknowledged Barye's
skill, but he remained a "maker of animals, a species deprived of human nobility." Such was
the judgment of the critics, promptly launched when it was proposed to entrust Barye with
the decoration of the Place de la Concorde. Rather than submit to such complaints, the prefect.
Monsieur de Rambuteau, aligned himself with the arguments of "those who would not consent to the Place de la Concorde becoming a branch of the zoo in the Jardin des Plantes."
In 1837 tex, indignant that the jury for the Exposition had rejected Delacroix's paintings and Barye's animal sculptures, addressed an open letter to the members of the Cercle des
Arts, denouncing the judges as "blind enough to prefer so many paintings of any sort to a
canvas by Delacroix, and the insignificant figures we see in the sculpture halls" to the animals by Bar^^e.
Released at last from their task of being "parade horses" for symbolic persons, Gricault's battle steeds, Delacroix's Arab chargers, and Barye's wild beasts suddenly acquired
individual personalities. Thophile Gautier describes the effect produced by the bronze
Lion with Serpent, one of Barye's masterpieces: "At the sight of that terrible and superb
animal his tangled mane bristling and his muzzle drawn up with a calm that is full of disgust
keeping beneath his bronze claws the hideous reptile which rears up in a convulsion of
impotent rage, all the poor marble lions pulled their tails between their legs and accidentally
let slip the globe that held them up."
a static
293
294
There was not an evolution in the art of depicting animals during the nineteenth century,
but rather the emergence ot various tendencies, dominated in almost every case by the Neoclassicism which still held favor with the Salon public. A great number of animal sculptors
showed talent, but Barye alone had genius.
Barye, the son of a Paris goldsmith, enrolled in Bosio's studio when hardly twenty years
old, right after the Napoleonic wars. Later he entered that of Gros. Impassioned, like most of
VIII.
1831 he exhibited
at the
worked from
life in
height
liveliest criticism
time Barye escaped from his self-imposed servitude, the study of animal anatomy, and
his models, especially the lions, became treated with more simplified means, proving in this
the artist's independence from tradition. To earn his living Barve made drawings for great
numbers of small bronze statuettes and had them cast, though his knowledge of foundry
methods soon led him to process his favorite subjects himself. It was these pieces, to which
the artist's touch gave a surprising density, that shocked the critics accustomed to a "proper"
sculpture; for a long time they were dismissed as "paperweights," these works that belong
among the masterpieces of sculpture.
Barye remained the uncontested master of animal sculpture throughout the century.
After 1830, when he exhibited for the first time at the Salon, until his death in 1875 at an
advanced age he never ceased to demonstrate that a certain form of Romanticism was suited
to this special art. But the style died with him; most of his confreres continued to treat the
subject as it was done in the Ecole des Beaux-Arts.
In
ANIMAL SCULPTURE
295
is
Emmanuel Frmiet
sonier and so
many European
sculptors,
seem
to
come from
plying superb animals for use in parades. This was also true of Charles Cordier, Christophe
Edouard Delabrieu, Emile Gouget, Auguste Cain, and Henri-Marie Jacquemart, all
knowledgeable in anatomy and observant of animals in motion but in most cases not endowed
Fratin,
with genius.
Painters too, such as Rosa Bonheur, espoused this genre; others, such as Fratin and
like certain
to specialize
sical
formulas.
In the
United
War provided
its
its
One
Germany an
At the close of the century the sounds of class struggle finally reached the stables the horses
of Constantin Meunier are unmistakably workers, and their fate seems even more miserable
than that of the workers of the time.
In Georges Gardet, who strove to return to the Romantic tradition of Barye, Art
Nouveau found its finest representative in this genre, but like many of his contemporaries he
was readily inclined to anecdote or superficial symbolism. With Franois Pompon there at
last appeared a modem animal sculptor who conformed to twentieth-century taste.
:
296
1.
Tiger Devouring
Muse du Louvre,
1831-32.
Crocodile.
Bronze,
40^".
when
at liberty.
movement
of the
more
movements.
plaster, I82
After
new
New York
of Art,
fragment
Museum
Painted
fire
he made
28^". Metropolitan
1846.
new
in plaster
work
Here we have a
drawn from a Persian
is
Wax
to survive destruction
who
11.
that he
all
was romantic
in the
is
Rome,
Kunsthalle,
is
Max
life
to
abandon pure
art.
Son
14.
their disdain
for the
''diable-
which were
work, he returned to
March of
Paris. In
16.
Head of
Gallery,
Settled in
teacher, Canova.
He
much
perhaps, and
The
mannerism with
19.
PIERRE-JULES
Nationalgalerie, Berlin
considered to have
little
in
Scotland.
fireplace.
Southill
whom Mne,
Traveller's
VI).
29
artists
14".
among
Cain in particular
20. lEVGENY
panel.
dom.
value.
19
Overdoor
MNE (1810-1879).
Fox Hunt
a pupil of
1797.
Angelica
monuments of Belgium.
7.
(Bedfordshire)
Stag Hunt.
is
Queen
his native
work
Sir
17.
18.
his
Art
Rauch,
Museum and
Birmingham, England
in his lifetime
many
Brussels
Though
spent
minster Abbey.
Latin
who
Sick Dog.
Klinger,
Horse. Bronze.
much
Bremen
15.
in search of
the
achieved a worldwide
showed
much about
us
tells
officials
who
life.
years in
13.
by posterity. He
Basset
of Meissonier,
talent
6". Muses
II
wax study
after the
Horse.
at
19
Brussels
Paris.
12.
6.
admired
life.
10.
Dillens learned
7".
in particular his
ment.
Perseus.
20". Muse
Belgium
10
relief,
remains, along
that of Degas.
specialty,
immense
5.
for once
4.
his
with Prault but with infinitely more freedom, the true repre-
reliefs
beyond
Slaughter.
1864. Bronze
of
however, the
is
The Bull.
Wounded Horse,
ries"
to
tion, Paris
artist
group statue
louse
justly forgotten
this
8.
painting.
whose subject
poem.
3.
Naturalism
9.
something
Here Frmiet
2.
Romantic sculptors.
or Realism
He observed with
16
Paris
the
HippogriJ[.
1846.
Bronze,
ANIMAL SCULPTURE
?V:
CVi Vj^'-^-^
'?)
Mir
Iskusstva
Klodt
to
the
and peasant
art.
From
Troubetzkoy,
impressionistic
Russian
animal
297
good
life.
as
Numerous
25.
iar animals.
Room, Chteau
of
Compigne
Queen Victoria on Horseback. 1853. Bronze, height 21^"; reduction of the large original
collection,
22.
shown
at the
London
Bronze,
height
\9^".
Staatliche
Kunstsammlungen,
Dresden
23.
^h"-
Muse des
Beaux-.^rts, Dijon
1835.
26.
Stag
Pompon
in
27. PIERRE-JULES
worked
MNE (1810-1879).
5'
I2".
28.
c.
Museum
in the
fully
numerous
29.
Bull.
298
30.
THEODOR
1892. Statens
Bull.
31. ISIDORE-JULES
Museum
for Kunst,
Copenhagen
inhabit that
BONHEUR (1827-1901).
Sheep.
PHILIPSEN (1840-1920).
whom
way of
stair-
this
Novem-
first real
deep
opportunity to express
in
1890, where he
is
Proctor
was chosen
as a farewell gift to
Teddy Roosevelt by
his cabinet.
38.
Saint-Cast (Ctes-du-Nord)
34. ISIDORE-JULES
Stag.
35.
is
the Leash, c.
copy of the
commissioned by
Vienna)
London
a small
(east of
Monument
collection,
36.
Aspern
Hunting Dogs on
This
BONHEUR (1827-1901).
is
a version in
London
40.
National
Museum, Stock-
holm
Muse41.
um, Leningrad
37.
London
The
still felt
in
Degas'
first
sculptural studies
as studies
o-
Il
11
12
m
^^^^^^^^^'m
,f?T
.....
^H
V*
14
16
17
AX,
18
19
20
25
26
27
28
30
>0
31
35
38
39
41
17.
many great
artists,
was never
to
instead, to the
PAUL CLAUDEL,
Throughout
Should
it
the nineteenth century the question of religious art was being debated.
modern trends ?
Gothic churches, not Greco-Roman edifices,
it
give in to the
Chateaubriand w^rote in his Mmoires d'outre-tombe that "there is nothing marvelous about
a temple one has w^atched being built and whose echoes and domes have taken shape before one's
eyes" to the medievalists, it was wrong to claim that a wagon driver, for example, would
always feel at home when entering any house of God, no matter what its form or decoration.
The churches built by Soufflot and Chalgrin in Paris during the second half of the eighteenth century were still reflections of ancient Roman temples. The Revolution was no threat
to Neoclassicism, and Napoleon built no churches. The church of the Madeleine, built in
Paris as a temple dedicated to Napoleonic fame and then destined to lodge the stock exchange,
was completed only in 1842 under the July Monarchy. With the reconstitution of the empire
the Church, backed by the monarchy, took steps to win back the power Napoleon had seized.
Despite its reactionary ideas and taste, the Church abandoned academicism and sought to ally
itself with the tastes of the day.
Between 1820 and 1830 new churches opened in Paris: St-Pierre-du-Gros-Caillou,
Notre-Dame-de-Lorette, St-Vincent-de-Paul, and Notre-Dame-de-Bonne-Nouvelle. King
Louis-Philippe gave his personal attention to the building of St-Ferdinand-des-Termes (rebuilt
in 1937) and corrected the plans for Ste-Clotilde. The appearance of these churches is generally cold and harmoniously arranged, with a measured richness which has a degree of charm.
The commission in charge of these works expressed the hope for "the good of art"
and "the advantage of the artists"
that harmony and clear order would reign in the decoration of churches, and that the paintings and the statues would be made expressly for use in the
places they would occupy it declared itself opposed to the principle of crowding together,
as in public exhibitions, works that were not designed to enrich the edifice. These wise counsels generally proved to be dead letters.
souls.
Following the Nazarenes in Germany, Ingres, Chassriau, and Prault demonstrated that they
found no incompatibility in being at once Christian and Romantic. Baudelaire, in L'Art
romantique, aisserted that "an artist can produce a good religious picture provided his imagination be capable of raising itself up to death" it was important to know how to recognize the
presence of God wherever found, and to reject the Romantic fakers. In all events, anything
;
315
316
and
"monkey tricks" of Ary Scheffer, and those "Descents from the Cross" and "Penitent
Magdalens" by many other artists in which Baudelaire and Gautier denounced the ambiguity,
silliness, and danger of the resurgence of this type of religious art.
The Neomedieval current was able to triumph so much the more easily because lovers of
art had been rediscovering since 1760 the importance of Gothic architecture, and the
faithful were discerning an authentically religious atmosphere in the cathedrals and chapels
built centuries before. For some time the word "medieval" had evoked the idea of a sincere
and naive faith.
The most determined adepts of this new religious art were the fashionable sculptors Marochetti, Triqueti, Felicie de Fauveau, and Count de Nieuwerkerke (the future Director of
Fine Arts under Napoleon III). Within a few years everything turned Gothic, as thirty vears
later they would turn Neo-Renaissance. Entire districts of Paris, such as the new Plaine
Monceau and the fringes of what would soon be the XVIth Arrondissement (centered on the
Trocadro), became studded with town houses that looked more like small fortresses built in
the Touraine countryside than functional houses designed for a great city.
The interiors of these new old houses corresponded to the exteriors. In his town house
in the new rue Tronchet, Count Pourtals set up a Neo-Renaissance chapel to house the
monument to Dante by Felicie de Fauveau. The Rothschilds also had a medieval oratory built
in the fashionable style.
At the outset some versions of the new style contrived to preserve an indisputable originality.
It was not a matter of pastiches but rather a moving or slightly humorous way of poetizing the
art of the past. These, however, were exceptions, of which more examples are found in Italian
cemeteries, especially Naples, than in the choirs of churches.
own
Generally speaking architecture and, even more, sculpture were unable to hold their
against this style. The architects responsible for some two hundred churches built
in
and statues
at ease..
Incapable of changing their ways, the architects could change their epochs:
down with
the thirteenth century, up with the sixteenth. Decorators, sculptors, and painters seemed
scarcely able to imagine any alternative. At a time
life,
when
modem
that politeness,
and the flat calm of fatuity have taken the place of ardor, nobility, and
turbulent ambition." No one seemed capable of defining the forms of a contemporary and
puerility, incuriosity,
original art.
no
is
man without
no sculptor, seemed able even to propose a truly modern and untraditional building. In 1845 eighty-nine churches went up in ogival style; in 1852, some two
hundred churches or chapels in Romanesque-Gothic or Byzantine-Medieval. We know from
Madeleine Ochse's book, Un Art sacr pour notre temps, that it cost 121,181 francs 47 centimes
to build a handsome country church.
love"
architect,
After having too long neglected addressing the masses, the Church in France, which had deprived itself of help from its following, was reduced throughout the nineteenth century to
be dragged in the wake of reaction. For these reasons religious art remained
conformist for a long time. Only the new order of Assumptionists succeeded in galvanizing
the mass of the population and in bringing together quite considerable sums. To them and in
allowing
itself to
Amry
Picard
we owe
317
The
was the same in the West. Saint Stephen's Church in Philadelphia and Trinity Church
in New York, both in Neomedieval style, or Trinity Church in Boston, built between 1872
and 1 880 in the eclectic style, suffice to give us a discouraging idea of the creative imagination
of American architects. So much pomp, barely concealed beneath false humility, makes these
It
attempted to link their buildings with nature by avoiding the arbitrary application of motifs based on stone to architectural
surfaces. Their ideal w^as to provide for the faithful the image of a church like a greenhouse:
foliage, boughs, and flowers were cut directly into the pillars and walls or set into the stainedglass windows, seeming to lighten the edifice without, for all that, making it pagan.
Under the influence of Art Nouveau theorists, themes and symbols which had now lost
their meaning were abandoned in favor of floral motifs. But one must seek elsewhere than the
basilicas and chapels of France, with few exceptions, for a translation of the spiritual message
into artistic terms. In England W. Reynolds-Stephens, in decorating the interior of the small
church in Great Warley, Essex, covered the vault in aluminum and surrounded the choir with
a screen composed of metal tree trunks that support a horizontal band of flowers. The naturalistic motifs (rosebushes and foliated scrolls) were treated with a graceful reserve there ended
the imitation of Gothic or Byzantine. In Vienna members of the Secession movement such
as Otto Wagner and Koloman Moser were even bolder. The extreme sobriety and the rigor of
lines and volumes they provided for the church of Sankt Leopold in the Steinhof hospital give
the building a profoundly religious character.
Gaudi achieved the same result in his church of the Sagrada Familia in Barcelona, but in a
fundamentally different style in which medieval reminiscences intermingle with a Cubist play
of volumes. What the English and Austrians contrived to suggest by rigorous force and discipline the Catalan expressed spontaneously in an architectural and decorative language of
inexhaustible variety. In his Troisime Belvedere Andr Pieyre de Mandiargues calls Gaudi "a
sculptor as much as or more than an architect or decorator, and his conception of the relationships of volumes with space, which was revolutionary at the time, has not ceased to be exemplary.
What is more, one will find that of his real sculptures the most original, the most
elaborated, the most admirable are those which simply clothe the tips of shafts, the chimneys,
the ventilation openings."
like those
318
1.
Wood, diameter
6.
Canada, Ottawa
For
a long
naivety of
To be
Paris.
rustic simplicity of
its
execution.
7.
it
had to remain
Paris.
sion that did not keep alive the faith of the descendants of the
colonists
before, in 1839.
URBAIN BRIEN
2.
Called
DESROCHES (1780-1860).
Wood
relief,
ate killed
8.
Wood,
painted. Real
Academia de
Paris
In his
much
taste
added
medium
recalls
so
much
feature
of Spanish
church processions.
4.
prel-
Bellas Artes
tomb of a
1848.
on the barricades of
remained
from the
then
that his Young Indian Girl (p. 47, 42) "is a little lacking
made
between
1815 and 1826 by Louis XVIII to expiate the guilt of the Rev-
' '
Christ with
will
and testament.
Prague
as in
Poland which
9.
was generally
Funer-al
was
restricted to the
5.
work,
Narodowe, Cracow
After
10.
Muzeum
ifc
the queen's
muse-
usually without originality, at least has the merit of being perfectly adapted to the edifice
in
housing
it,
Yermak
sack
to her sister-in-law.
last letter
um
on the base
319
16.
1882).
Descent
from
Tomb.
the Cross,
Notre-Dame,
Paris
our times.
17.
11.
Saint
14' 9".
High
Marochetti,
altar.
a pupil
to
Heaven. 1841
Church of La Madeleine,
Marble, height
atoire,
Paris
home and
equally famed in
Benoist
is
more nor
neither
less
18.
Dreux
Museum
Bronze. National
19.
Shown
at the
of Wales, Cardiff
relief
age.
12.
Resignation, statue
20.
Church of La Madeleine,
Paris
Aaron.
Palace,
Milan
13.
21.
leine, Paris
ality to
damning judgments
as
"a retarded
is
is
chisel
on subjects
.... He
domain of
22.
Ecce
1890.
Muse Constantin
Meunier, Brussels
Here
at last
convention
is left
slumped
behind.
of His strength,
sits
were Meunier's
favorite subject.
The
like
who
sculpture."
23. EMILE-ANTOINE
14.
15.
Saint Sebastian.
Museum, Leningrad
The pose of this bound
Son
of a
28".
height
Muse Antoine
God
(detail).
de Dios, Barcelona
Christ
is
in his lot
24.
Saint John of
he threw
Bronze,
Bourdelle, Paris
BOURDELLE (1861-1929).
1883.
which
his
25.
ANTOINE-AUGUSTIN PRAULT
Wood,
10-1 879).
Gervais-et-Saint-Protais, Paris
This remarkable
Sacristie.
wooden
crucifix
is
installed in the
Grande
,.**
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Hfe
FUNERARY ART
18.
In
much
is
benefactors
were
stroll
own
domains.
The French Revolution, meticulous in establishing principles of equality, decided that
everyone, apart from certain exceptions, must be buried in a public cemetery. The law, however, did not carry the obligation to measure each reserved space moreover, it was possible
to acquire a concession for a shorter or longer time. Decorations and inscriptions were the
concern of each family as long as decency was observed. The ancestor cult that was already in
use under the Directoire recalls that practiced in Antiquity. It enabled families to record
their respectability, their fortune, and eventually their taste in the arts but contrary to earlier
times the aristocratic families practiced more discretion, for reasons of economy and also
perhaps for a reverse instinct for simplicity, whereas middle-class families spent more and
more to display their wealth. The tomb ceased to be the material receptacle for the deceased
and became an extension of the family dwelling. He and his descendants presented themselves
to posterity decorated with all forms of excellence, if not with all the possible virtues. The
general's high deeds were told; the politician's civic and republican virtues were praised; the
manufacturer's mausoleum rendered homage to the excellence of his products.
to itself the privilege of being interred within the boundaries of their
With
the inception of the Third Empire the French enjoyed a veritable renaissance of funer-
ary art.
To
satisfy a
demanding
As
a chisel.
in
they look like the false ruins built thirty years earlier in the parks of princes and great landholders.
Because the theme of death excited the Romantic imagination, the cemeteries are where
one can find the most authentic evidence of that style. There the sculptors were no longer
some
nor was the client in a state to refuse the work. For this reason
David d'Angers, Prault, or Rude could here, more readily than elsewhere, give free rein to
his genius. At this time Rude's Napoleon in the park at Fixin, outside of Dijon, was much
criticized for its bizarre conception the dead Emperor throws back the shroud as he awakes
to immortality. Actually, if the work is strange, it is essentially Romantic. David d'Angers
was reproved in his turn for what Luc Benoist called misinterpretation in showing General
Gobert in the midst of action while, mortally wounded, he already hovers on the edge of
eternity
but never was David d'Angers closer to Gricault (see p. 80, 7, 4).
prisoners of
official jury,
329
330
new
tended more and more to confuse good manners with morality. Naturalistic art, concerned
with detail and basically agnostic, tended to substitute symbolism lor diyinity and was well
designed to please and reassure the public. A neatly buttoned jacket was now preferred to a
floating toga. A certain taste lor precision, which began to appear about 1860 in the work of
Russian, German, and Scandina\ ian artists as well as certain southern sculptors, recalls the art
of the German and Flemish sculptors of the late fifteenth century.
A faith that remained strong fayored the great production of many Italian \\ orks in which
one finds both realism and naivety. The reat cemetery of Genoa, the Camposanto di Staglieno, offers a prodigious vision of a new, specifically Latin funerary art. The works of Giovanni
Battista Cevasco, Antonio Besesti, Santo Saccomanno, Luigi Orengo, and Pietro Costa are virtual documents of the tastes, beliefs, and anxieties of the Italian middle class. At every turning
one sees in what manner the inhabitants of the cemetery strove to make death less mysterious,
to render it familiar. Whether a notary, a grocer, or sea captain, all those petty kings, proud
of their wealth and former power, hoped in the long run to gain the attention of the Almighty by presenting themselves dressed in their Sunday clothes. Numerous monuments
notably those bv Moreno, who is doubtless one of the few sculptors in the world to reproduce
even eyelashes rival in originality and in quality of workmanship those works carved a century earlier in Naples by Antonio Corradini and Francesco Queirolo.
The national taste of the English for funeral monuments no doubt reflects that passion for
the Beautiful manifested by an elegant society that delighted in ceremonies and parties. In
addition, are not the superb funeral structures that they built the final proof of human
vanity, good pretexts for demonstrating against the rigors of Protestantism? Eager to leave a
prestigious image behind them, these refined Englishmen had an embarrassment of choice
among portrait artists: dressed in their uniforms, or with a bit of armor half-hidden beneath
a prettily draped toga, they posed for the sculptor, confident of carrying ofi a last success at
the Dance of Death.
In the eighteenth century the English had summoned from France Louis-Franois Roubillac, and from Flanders Laurent Delvaux and John Michael Rvsbrack. In the early nineteenth
century, following the Napoleonic wars, hundreds of public and private monuments were
erected in Great Britain to the glory of a deed at arms or in memory of some individual. The
influence of the French sculptors and the tastes of their pupils, and of the English-trained
artists like John Bacon, Richard Westmacott, or Francis Chantrev, scarcely followed the
course of an evolution. Not until the Pre-Raphaelite revolution did the English taste, so long
marked by Neoclassicism tempered with Romanticism, begin to wane. Pre-Raphaelite
sculpture is neither Christian nor outright pagan. It is, rather, a symbolist and spiritualized
manifestation, free of all constraint and dogma, which seemed to arrive in time to aid an ever
of
its
anxieties.
Funerary art enjoyed one of its most flourishing periods at the close of the century. The
modern style Art Nouveau, Jugendstil, or Floreale because it could express the excessive,
the strange, and even the morbid, responded more than any other to a certain idealization of
death that was dear to the Symbolists and Parnassians. On the other hand, the tombs designed
by Louis Sullivan, Giuseppe Sommaruga, and certain Bohemian artists are more architectonic,
more somber, and already modern, announcing Cubism and the modern art of the twentieth
century. Anguish and grief are expressed with reserve, in a manner which has become our
own.
Walking along the paths of certain cemeteries, one can appreciate the
artistic riches
they con-
FUNERARY ART
331
^^^^ti'^^^fj^k.
mrir-yr-;.,'-,
,-'
about 1900, Pre-Lachaise still held 626 mausoleums, of which 470 came from
the chisels of experienced sculptors; that of Montmartre counted 131 signed monuments;
there were nine works apiece by
that of Montparnasse almost 300 sculptured groups
Barrias, Chapu, and Prault, thirty-five by David d'Angers, fifteen by Etex, two by Rodin.
The Montmartre and Pre-Lachaise cemeteries are veritable conservatories of small
architectures. Section by section, the people of the dead lie beneath monuments that were
fashionable in their time, and they seem to invite us to stop a moment. Of Neoclassical art
there remain exquisite small temples, perfectly proportioned; of the Romantic era there are
evidences by the hundred, from a simple slab adorned by a stone garland to vast Neogothic
tain. In Paris
332
The outer sections are entirely in the so-called PlaineMonceau style, small replicas of buildings whose originals could still be seen thirty years ago
in the XVIIth Arrondissement, The final residences of the wealthy bourgeoisie, now mostly
chapels as prideful as they are naive.
deserted by the living and inhabited by legions of cats, shelter the remains of personages
could be found in the pages of Balzac, Feydeau, or Zola.
who
Today's tourists, even when they are lovers of the past, seem to feel some distaste about
those places v/here they too must finally rest, and they tend to postpone their visits. Rather
than call upon Balzac, Baudelaire, Delacroix, the Imperial generals, Sarah Bernhardt, Rossini,
Victor Noir, or Oscar Wilde, who repose in these solitary parks, they are drawn to the
ancient dead and betake themselves to the Keramaikos Cemetery in Athens or haunt the condemned streets of Herculaneum and Pompeii. And yet, on certain fine wintry days, the pathways of Pre-Lachaise, of the Cimitero Monumentale in Milan, or of the vast cemeteries of
Genoa or Naples offer the stroller unusual sights, worthy of the brush of De Chirico, Magritte,
or Delvaux.
By the end of the nineteenth century sightseers and connoisseurs were already worried about
the future of these funerary monuments. In 1875 Charles Guellette expressed concern over
the abandoned state of the tomb of the painter Prud'hon; twenty years later Henri Jouin
warned that the monuments of the composers Grtry and Bellini and of the actress Madame
Dugazon were approaching ruin.
In 1895 the improbably named Osiris requested from the prefecture of the Seine "the
authorization to carry out at his own expense various jobs of reconstruction or repair for various tombs of famous men who lie in the Parisian cemeteries and whose sepulchers are unworthy of their glory, either because of their abandoned state or because nothing marks them
for the attention of posterity." His solicitude was shared by the critic and art historian Henri
Havard, who was calling in the same period for the State to classify as historical monuments
the neglected graves of famous citizens and thereby guarantee their upkeep.
Despite the care taken by different conservation commissions to maintain generally
very well
the necropolises of Paris, it seems that a certain number of sculptures, among
them medallions by Prault, have disappeared since Henri Jouin succeeded in making the first
inventory of the artistic treasures contained in the cemeteries of Montmartre, Montparnasse,
and Pre-Lachaise.
But in the long run the Historic Monuments commissions can do nothing against the toobrief time limitations for burial plots, the indifference of families, and often the poor quality
I
^
'
1|
ums. In many cases their beauty and their historical importance will make them,
from ravages of weather, the object of admiration for visitors from near and far.
if
preserved
FUNERARY ART
1.
Monument
12.
1802. Marble.
to
Paul's Cathedral,
St.
London
333
Tomb of Marshal
Paris
Tomb of
the Archduchess
whole
Maria Christina.
1798-1805. Marble,
dral,
4.
to
1817.
St.
earlier.
one of four
is
tomb of
this general
admi-
is
rable and
Ham
Cathedral, Nantes
13.
Paul's Cathe-
London
Monument
stele are
tionary wars.
Monument
du Pre-Lachaise,
(Staffordshire)
Chantrey imbued
his funeral
monuments with
14.
Tomb of Dominique-
Vivant Denon.
Pre-Lachaise, Paris
5.
JOHN CHARLES
Monument
to
ROSSI (1762-1839).
It
1802. .Marble.
London
Rossi and Tumerelii were honorable representatives of
St. Paul's
Cathedral,
in
man
of such
the capitals of
all
visor
in
and
affairs,
artistic
was rewarded
by
becoming
Europe.
15.
6.
Monument
to
1823. Marble.
St.
Cathedral, London
Paul's
movements, no
in the
Museum
of Art,
few
work
17.
shire)
ballet-like
this funerarv
5'
7^".
ANONYMOUS.
18.
still
infants.
Funerary Monument
The motifs of
length
Wax,
Paris
Muse du Louvre,
touch
Monument
Project
New York
inspiration.
(1811 or 1813-1857).
The Babes
16.
Monument
CRAWFORD
7.
THO.MAS
1782.
.Marble,
Museum
to
Mme M.
width
W.
45". A.
c.
Shtushussev Scientific
Moscow
Monument
to
Lady
Fitzharris.
church (Hampshire)
ANONYMOUS.
Tomb of
10.
BONNASSIEUX (1810-1892).
Tomb oflngres. Marble. Cimetire du Pre-Lachaise,
Baltard designed the marble
monument
simplicity
Paris
to Ingres (d.
1867),
note of
fantasy.
11.
to display
ity, his
work of tex:
Why
and virtues.
No
art
generosity
his sensibil-
and children
VICTIS and
its titles
doubt on the
granite
never!
chaise, Paris
Louis-Sbastien Gourlot.
HIS
AUX
Classical
.MANES
ANCESTORS,
the
former
as
as
VAE
GONE TO
WOE TO THE
VAN-
QUISHED).
21. JOSEF
Gallery, Prague
work
as
simple
as
it is
relief
reproduces
where
found
West.
334
22. STEPAN
Model for
Tomb of Michael
the
Museum, Moscow
Russian
DE FAUVEAU (1799-1886).
FLICIE
33.
Monument
to
Basilica of Santa
who had
The
studied in Paris.
burial
monument
rangement
French
young American
to a
made this
pompous ar-
the
is
23.
Croce, Florence
sculptress, a
figure.
Monument
height
24.
EDM-ANTONY-PAUL NOL
Called
5';
Columbus.
TONY-NOL (1845-1909).
torical buildings.
On
monument
1873)
The
26. JULIEN DILLENS (1849-1904).
entire group
about
air
is
Museo
One
Vela, Ligor-
netto (Lugano)
Italian-Swiss
many
of his compatriots.
life,
He was
a verist
who,
both
is
to Countess Sofia
in
DiMiTRios FiLiPOTis
37. TIENNE-HIPPOLYTE
made much
fl
is
MAINDRON (1801-1884).
David d'Angers.
^r
Tomb of Anatole
De
Somme
in
29.
1839).
(bom
Croce, Florence
Baudelaire
art.
to
mantic funerary
know which
does not
28.
Monument
Cam-
granite.
and moving.
realistic
in
36.
some
somewhat Japanese
1849. Marble.
typical of
it.
The
GIACOMO MORENO.
35.
Tomb of
floral
Figure.
Arts, Brussels
27.
his-
Tomb
polychromed repouss
Paris
(bom
figures of
over-lifesize
to Christopher
c.
34.
came famous
a publicist
in the resistance
and politician
who
be-
movement.
ANONYMOUS.
39.
30. AIM-JULES
Tomb of
DALOU (1838-1902).
Victor Noir.
is
drama and
figures in
ternbilit to the
monument
Camposanto
The
di Staglieno,
struggle of
life is
Genoa
symbolized here by
Athens
suitable for
Lady
it
is
Young Greek Girl on Tomb of Marco Botzaris, Fighter for Greek Independence. Salon of 1827. Marble original destroyed; plaster
to Ester Piaggio.
1885. Marble.
Cam-
typical
particularly
mortuary sculpture.
in Waiting,
storm,
a ship facing a
furled by an angel.
32.
Vladimirovich
its sail
31.
Paris
This
An
its
mlange of
was about
in
FUNERARY ART
How
tomb !/
!/
33S
Tomb of
F. Barbedienne.
Lachaise, Paris
neath her fresh prayer:/ Her juvenile grief knows neither cries
nor tears./ Young angel The future will water your blossoms,/
For the name of David is imprinted on your stone. (The name
'
she traces
is
'
lifesize
monument
to
one of the
(see p. 86).
49.
FRENCH (1850-1931).
Monument of
1891-92.
Staglieno,
1876. Camposanto di
Genoa
Museum
New York
of Art,
ment
in
memory
is
monu-
who died at
monument to the
of Martin Milmore,
thirty-seven.
Civil
War
He was
dead, and
relief
Auburn Cemetery.
to
Modema,
Flor-
villa.
Florentine philanthropist.
It
monument
to be set
Monument
after designs
Chapu
Paris
51.
Not
a public
monument
Henry Adams'
enigmatic figure
is
considered
sculpture.
memorial except
52.
that
it
of the inevitable."
Tomb
MAUDER (1854-1920).
Funerary Monument.
sculptors,
54.
Tomb
Monumentale, Milan
FROMANGER (1805-1892).
du Pre-Lachaise,
Italian
funerary
monuments of the
late
Paris
by
Tomb of Henri
Cernuschi.
monument
who
as a
game, death
The
base of this
handsome monument
architect
same years
BOUCHER
1898-1902. Marble.
"colonnes Morris")
and
henri-michel-
in
LEONARDO
at this time.
(1850-1934)
c.
Viennese Secession.
BISTOLFI (1859-1933).
48. ALFRED
haven.
56.
all
as a peaceful
55.
Lachaise, Paris
little
shown
is
This droll
Cimetire du Pre-
Vysehrad, Prague
1870-71.
46. ALEXIS-HIPPOLYTE
Marble.
1832.
Lachaise, Paris
53. JOSEF
to the
Tomb.
up on the bank
Amo.
45. Monument
47.
Dias-Santos
ally,
ence
of the
The
scale,
memorial to
44.
50.
Milan
most excessive
eccentricities of Art
Nouveau.
<
11
Il
13
14
n^^v
.L
15
laH
21
25
26
32
33
36
38
40
44
46
47
48
49
50
51
52
53
19.
The
last
in
Rgime paid
her swing, she sails into her conquest ol a rich landowner. The
who dies at Wagram, lea\ing her a
milkmaid's daughter marries the farmer's son
pregnant widow with a decent pension for life.
Romantic society in the time of Balzac was even less interested in sculpture
painting, and remained prudish. Yet verv strange thrills ran over the epidermis ol its
woman. Weded
than
SENSUALISM
in
sculptured females. The Swiss sculptor Pradier imprudently exposed his poor Chloris to
Zephyr's burning breath; German Romantics explored the labyrinths ol sleep; as lor France,
is it
the eflect of suffering that contorts Clesing'er's nudes? Morality was powerless against the
fantasies that
The
less
a disquieting; universe.
women, show
us
more or
own
women's
eves to their
moral taboos that were even more inflexible than in the preceding century
forced women to dream of their other life. It is psvchodramas of this sort that sculptors set
free in their blocks of stone women who had not detached themselves from their servile condition could Hnd comfort in the sight of those sculptured slaves, white or black, their wrists
in chains, who await the delicious instant when the master will deli\er them over
whipped,
even crucified
to the executioner's whims.
Eve w^as invited to join the g^ame Delaplanche shows her stultified w ith boredom, before
the Fall; Dagonet lets us see her afterward, hiding her face behind her arm and weeping
though who knows? it may be from joy. From the Romantics to Huysmans, the Devil
that
evil intercessor
is always present. He meditates; he takes his time. To make himself less
frightening he turns himself into a faun, and when the long-awaited sin is at last consummated
nothing remains for his victim but the ultimate jov of spreading; the news, just as the powers
of the Church vacillated, so the demon ends bv grow ing old
and Madame Bovarv has no wav
to excite him. The Devil's claws are succeeded bv the paws of wild beasts, another wav for a
woman to yield to pleasure beneath constraint. Morality can always be rescued.
Under the Third Republic woman continues to dream, but this time it is of revenge.
With a protecting gesture she now caresses the neck of the swan the warrior throws himself
at her feet; the jungle feline, tamed, begs a kindly pat. ... As the years pass, muscular force
yields to grace and the women who w^atch at the palace gates drop their guard once caryatids,
now androgynes.
status, the
The
The family
Barrias's Nature,
Mysterious and
Veiled,
But young people devour the pages of the weekly La Vie Parisienne.
Man, in his turn, urges the Devil to force him to fulfill his most secret instincts; the
women take tickets for Lesbos. Homosexuality, the prerogative of a hitherto clandestine
minority, tries its powers on the arts, letters, and fashion. The ''Pelle astres''
so Jean Lorrain
at
361
drop
362
in the
E.MILIO
1.
Eulalia,
ol
FRANCESCHI 0839-1890).
Martyr.
Christian
the
White marble,
1880.
Saint Eulalia of
1 1
height
Turin
Eve
Paris
at the
age of twelve.
12.
2.
Muse des
Augustins, Toulouse
Marble, height
5'
First Secret to
Venus.
Muse du Louvre,
3z".
Salon of 1839.
Paris
Persuasion.
5'
8". Russian
Museum,
Caressing a Chimera.
Compigne
Kiss.
is
.
.Marble,
Slave.
illustrates
poem by Leconte de
Lisle,
Galleria
Moderna,
d'.\rte
6'
10".
19.
land,
Maine
Comte de
last
major work
he
died at age
thirty-six.
20.
Gorilla
group.
1894-95.
Dead
Ganav, Paris
this
1".
After
bourg, Paris.
5'
Nationalgalerie, Berlin
silly.
height
Amphitrite.
10.
to
of the
18.
Turin
Parnassian school.
9.
Flaubert's
Paris
is
safe:
.
The Supreme
It
16.
work
1866. Bronze.
Paris)
slavery.
This
Muses
Morality
world.
7.
Evil Genius.
Thing J.
15.
Leningrad
6.
Young
Woman
Mephistopheles.
(Poor
Arts, Angers
5.
Paris
4.
Muse du
13.
Poverella
3.
Luxembourg,
Naturelle, Paris
363
SENSUALISM
iJTfmflf^iffl ((:![/(,'H!,
work by M.
it
the idea
writing on an earlier
his
many
drawing
in the
Musum
d'Histoire Naturelle.
The
Hand of God.
Paris
24.
Flute Player.
demned
of her
own
work
is
come: "Around
in the
unpompous.
ment.
BOURDELLE (1861-1929).
modem
Claudel con-
to the detriment
the
who adored
renowned Catholic
play-
morning, gathering
One fine day the hospital employees found their way into
room and laid hands on its terrified inhabitant, who
the back
Camille
shadow
Toulouse
22. .MILE-ANTOINE
c.
21.
Arts,
23.
l^g^
''''f,,.;',;.
filth
were,
casts
and dried-out
book were made before 1900, but they already exhibit the
originality of the sculptor whose teacher, Rodin, encouraged
him to liberate himself from all secondhand ideas including
In the preface
he
devotes to his sister on the occasion of the retrospective exhibition of her work, Claudel scarcely tells us
IX.
DSIR-MAURICE
II
Levante, Milan
r^i^
il
10
13
14
M
y^i:^
18
19
20
21
20. KITSCH
^^^ v\
nineteenth-century artist who aspired both to mirror the society around him and
to satisfy the morahstic ideals of his cHents had to bow to a certain conventionaHty.
But the sculptor was more exposed to criticism than the painter because a realistic
The
sculpture
is
so
much
succeed in being
easier to
lost in the
a painting often
show of
technique.
The
common
sense and
and art lovers acted out and appreciated a spectacle which was entirely conventional. The viewer was aware of lovely movements and facial expressions, and attached great importance to the artist's choice of model he
found it logical that in a beautiful female body with a comely face there should also be a righttheir spirit of observation. As in the Oriental theater, artists
eous soul.
Love remained
German
work
way of
377
378
Antique torsoes and fitting the coiffures of kept women onto their necks." The annoyance felt
by a small minority toward sculpture dedicated to triumphant stupidity was followed by a
general outpouring of jokes and ridicule.
Today our desire not to be duped and in art less than in anything else makes us particularly
wary about an art devoted to nice sentiments. Those inspired eyes, those tortured hands cannot make us forget the shameless bodies and poses. The self-righteousness of this symbolicsocial art irritates us it is the triumph of the pompous, the paroxysm of a hypocrisy which
accepted perversion and even obscenity provided they were a bit regretful, clothed with good
intentions, and crowned by the Salon. Whether through decadence of taste or a sadism that
refused to admit its name, everyone loved despairing girls if grief had disrobed them, and
pitiful girls if misery had not yet withered their breasts. Oriental and barbaric girls were ap;
preciated
their morals
had exhausted
may not be
itself; senile, it
Dalou. Around 1900 most sculptors plagiarized poses rather than seeking the meaning that
motivated them. This is why Minne, Maillol, and Bourdelle turned against all forms of affectation.
France was not alone in falling into such traps. Pomposity is a Western phenomenon, and
for painters like the Dutch Alma-Tadema or the German Menzel it was a matter of reconciling Naturalism and Impressionism with the anecdotal.
But after
all this
criticism,
it is
grandparents adored or discarded, to justify their opinions with the greatest prudence. In
art,
not expressed
by the sitters but by the world to which they belong; their poses remain simple and natural.
And if, in the eighteenth century, people deplored the sight of so much talent spent on
portraying vulgar and gross creatures, at no time did anyone dream of labeling such paintings
:
the feeling
is
as silly.
1
I
379
KITSCH
1.
1).
century. Thus
time
Berlin
as
much
in
the past
masterworks, strike us
now
as
paragons of Kitsch.
7.
1834.
Lullaby,
Bronze,
1892.
c.
height
23^".
Prague
3.
1).
Galleria Corsini,
9.
family.
d'Arte Moderna,
DOW PALMER
First Disappointment.
(1817-1904).
art.
him
that
His simplicity,
critical
Moderna,
Fisherboj.
Rome
1834,
acclaim
The
Metropolitan
6.
(this
Rome
10.
Gallery, Baltimore
is,
1822
Museum, Rennes
The sculptor frequently immortalized members of Napoleon's
ERASTUS
he was a
5.
uhom
to lack personality
Princess Napoleona,
work seems
and on several
today.
Berlin
4.
talent
1876.
Wax.
Nazionale d'Arte
Rome
Rome among
the large
selling
his
Rogers also did the bronze doors for the east entrance to the
rotunda of the Capitol in Washington.
380
11.
11
of Spain. 1855.
15.
Dresden
12.
16.
ISTVANFERENCZY (1792-1856).
Dcoratifs, Paris
Vestal Virgin.
Shepherdess.
pest
14.
John
1837. Bronze.
Opra from
1827 to 1847.
17.
Don't
Yourself,
18.
New
Queen
Jersey
fell
in love
we might
think her sly or even contriving, the wise young lady finally
in clay
his liter-
an answer to the
as
who,
Paris
19.
Muse du Luxembourg,
CA.MILLI.
Little
Lesieutre, Paris
In this
work and
call
Surrealist.
bourg. Paris
lifesize.
til
11
12
13
14
il
lil'
20
21.
We
which works
intended to represent a
historical or mythical event can soon appear ridiculous with changing times,
morals, or fashions. Similarly, certain sculptures tend to strike us as extraordinary
though their authors conceived them in a quite different spirit.
Romantic
spirit
at
initially
Our conception of the unusual or bizarre seems to have been bom in the
of Germany and England. For a lon^ time, however, the drawings of William
Blake, the animate flowers of Granville, and the citadels with warriors' heads bv Gustave
Not
Dor
were considered
to be oddities.
until psychoanalysis
Following the French Revolution, one might expect the new agnostic or scientific society to
rid itself easily of the repertory of mvths and legends instead one observes a revival of symbolism, both social and religious, as if people were trying in this way to counter the extreme
moralism which raged more than ever among the contemporaries of Balzac. The somewhat
cynical prankishness one senses in the works of Clodion or Falconet was succeeded by the
most conventional themes. Winged cupids, maids with downcast eves, and veiled widows
suggested Love, Innocence, and Death. There was no question here of the occult or the bizarre
but only of "refined" imagery.
Certain historical or social scenes escaped from the conventional precisely because their
;
make them
studios were
Any
historical reconstruction,
even
if it
strives for
authenticity (artists'
factual.
littered
389
poetic
390
and dreamlike atmosphere can save such scenes from ridicule, and Gustave Dor, Robida, and
Victor Hugo (referring to his wash drawings) succeeded in giving their works such overtones
of strangeness. When Gustave Dor modeled a knight in armor, who, face hidden behind a
helmet, plays leap-frog over the bent back of a fat monk in homespun robe, he may have been
trying to surprise the viewer more than to amuse him, but in any case the effect is irresistible.
In comparing the following illustrations with those in the preceding chapter on "Kitsch,"
one sees that the margin between them is often narrow. Gilbert Bayes' Knight-Errant, Ernesto
Biondi's Saturnalia, and Achille d'Orsi's Parasites (p. 391, 2, 3, 5) escape being justly called
ridiculous by proving themselves, in the end, fantastic.
Ancient artists already understood how sculpture could be given a surprising aspect by the
choice of materials, and even more by certain ways of combining them: gold and ivory, in
chryselephantine works, or precious substances like gold, amber, or ivory juxtaposed with
iron or brass, the barbaric metals. Great nineteenth-century artists, especially Germans with
a passion for ancient art, often used these procedures, sometimes to the detriment of the
strength of their work.
The taste
artist's power
movement or
to the
Vroutos' Genius of Copernicus or Gustave Dor's Acrobats (p. 392, 13, 15); in the latter work
the excessive stiff^ness of the bodies and fixed expressions of the faces suggest that the artist,
rather than reproducing a real episode, was attempting to ennoble a moment in the act of a
work
II
of Carabin, a woodcarver in the Vosges mountains, one finds the most sincere
I
I
and original products of bizarre sculpture of the last century (p. 392, 27, 28). Everything is
intermingled^realism, popular art, sensualism, poetical symbolism, and the Wagnerianism
then so strong along the Rhine and the whole is brought to a unique technical perfection.
Carabin does not seek his effects in choosing precious materials or rare finishes but in his
understanding of the carving of wood. He has the same knowledge of his craft as the great
German sculptors of the Renaissance, and the genius of the eighteenth-century Venetian
Brustolon, Like the latter, but with more originality and, above all, ambiguity, he has given
surprising and unheard-of forms to such everyday objects as furniture, cabinets, chairs. And
unlike the Salon artists. Carabin sought his models among women of the working class. Their
breasted
women
workwomen
could have
1.
7.
in
1820.
Polychromed
plaster (original,
Demeter.
8.
of
November
3.
4.
London
The
art of
Mignon,
common w ith
9.
Rome
na,
a Belgian
who
was
illustrated
it is
6'
own
tragic obsessions
were spent
height 342".
Museum
his
work
usually expect
from
and
as to
emotion he prefers
11.
Here there
is
more abandon;
all
the relaxed
in
of Man. But the sentiment and the language of the lines are
life
quite otherwise.
we
the fantastic.
will
very vaguely
an asylum.
in
of Illusion.
which ultimately
Florence
ancy of
Sisters
Museum, Len-
a manifestation of his
The
plaster. Russian
6.
in
Modema.
that of Frmiet.
ingrad
5.
462".
height
Knight-Errant.
Marble,
1898.
Beaux-Arts, Brussels
391
12.
Muse du Louvre,
Paris
Grome.
unknown
392
GIORGOS VROUTOS.
13.
Athens
lery,
22.
14.
JOSEPH-MARIA-THOMAS
Wrestlers.
Called JEF
LAMBEAUX (1852-1908).
Museum
p.
23.
BOLESLAS BIEGAS.
24.
10". Galleria
II
Levante, Milan
25.
de
16.
1943)
um
in
239, 6.
Brussels
la
Barcelona
The masks
Dumas
fiis,
Faur,
Gam-
GUST.AVE
Terror. Salon
To our knowledge
DOR (1832-1883).
of 1879. Bronze. Collection Fred Jouaust, Paris
la
Ciudadela,
JENS FERDINAND
this
ridiculous.
WILLUMSEN (1863-1958).
Museum
for Kunst,
Copenhagen
Statuette
of a Woman.
28.
on only three
faces of his
semble
concretions.
is
ROMBAUX (1865-1942).
Maurice
Rheims, Paris
GIDE
Paris
21.
Barcelona
actress,
in
Czechoslovakia. 1841
18.
19.
I
VACLAV LEVY (1820-1870).
Fantastic Heads carved from rocks
26.
legs.
Everything here
workwoman models
is
surprising,
to the tabletop
from the
made
a creator of furniture
to re-
Carabin
decoration.
0if<m@'"Wf/&:
i^'^.'fA.' ^::yj^::S^<^:
if:
r %
.*-
/=',
?>v^i5;>
20
19
1^
21
25
26
22.
Descriptions
PRECIOUS MATERIALS
how much
objects
London or Moscow,
objets d'art,
in interiors
tell
us
These
whose
took as their models, executed five centuries earlier. Such richness ended by giving town
houses the look of a wilderness, so that one could find it natural to meet a lifesize bear carved
in oak and rolling its ivory eyes, whose true vocation was to receive the visiting cards left by
callers. Dancing girls of silver twirled around the creature, as if to charm him their garments
were incrusted with enamels to turn the heads of ivory w^arriors, who, their gold torsos girded
in armor of burnished steel and with onyx-bladed broadswords in hand, pretended to defend
to the death the tea platters loaded with petits Jours iced in blue, turquoise, emerald green,
and fuchsia. Dominating all this, a bird of prey modeled by Frmiet clenched in its beak the
tube of the gaslight chandelier.
;
Napoleonic
field
With
XIV
(page 14,
/).
the Restoration architects saw themselves as stage designers for epic tragedies
were reading Walter Scott, Victor Hugo, and Alexandre Dumas, and rlso
Ponson du Terrail, and dreamed of those castles once occupied by the characters in Stendhal's
Italian novels. Rather than trying to pry genuine antiques from their rightful owners (usually
still locked inside mansions that were inaccessible to the trade), art dealers approached clever
craftsmen, mostly grouped in the le Saint-Louis and nearby, who were past masters in ironwork, enamels, and woodcarving. Among those craftsmen one finds the names of the great
sculptors of the time: Feuchre, Klagmann, Triqueti, Geoffroy de Chaume, and even Barye
turned out incense burners, tankards, armor, daggers. Baudelaire wrote of the Salon of 1846
that "as soon as sculpture permits being viewed close up, there are no niggling details and
puerilities that the sculptor does not dare to do, surpassing triumphantly what is found on all
the peace pipes and fetishes. When it becomes an art for the salon or the bedchamber one gets
their rich clients
who
its
own
M. Gayrard,
and the Caribbeans of the wrinkle, the hair, and the wart, like M. David." He was equally
merciless toward Feuchre, possessor of "the gift of a desperate universality colossal figures,
matchboxes, jewelry designs, busts, and reliefs he is capable of everything." Thophile
Gautier cites the case of Vetsche he produced goldsmith work and armor in Gothic or
405
406
Renaissance style, later sold as authentic by those art dealers who, like Arnoux in Flaubert's
ducation sentimentale, ran a business where "one found a bit of everything modern pictures
and sculptures, ancient bibelots, books, and catalogues of the Salon," Until the eye became
more selective, about 1900, many of these pieces decorated the cabinets of art lovers
:
throughout Europe. From Thiers to Spitzer, the greatest amateurs were taken in. As their
wealth increased, industrialists and merchants aspired to own objects which testified to their
taste and fortune it was a resurgence of the situation in the late fifteenth century when designers and craftsmen outdid themselves to supply princes and bankers with the most unusual
;
were carved in
And sculptors around 1880 rediscovered
the advantages of ivory, as in the ancient, Byzantine, and medieval art and like the great
craftsmen of sixteenth-century Nuremberg and Augsburg. The tonality and grain of ivory provide, when used for representing the female nude, remarkably lifelike effects, and its capacity
to take on color from other materials led to attractive combinations with gold, silver, or box-
wood. Colored glass pastes also enchanted the amateurs of Art Nouveau with
parency and glazed surfaces.
effects of trans-
time social and political problems were intruding upon the domain of aesthetics and
philosophy. Those concerned with applied art spoke in missionary tones of the obligation of
the artist in the new society: to create beautiful objects, low in cost, which would be acces-
At
this
much
was spent
effort
in the material
PRECIOUS MATERIALS
12.
Pyrenees
Syra,
407
face,
Kippen
including pedestal
height
2".
10'
Museum
Bildenden
der
only point in
common
is
p.
Portrait
of
heiaht
Ivory,
17:^".
Peace.
JEAN-AUGUSTE DAMPT
13.
height
gilt,
I,
1801
in
ecuted
in
Butterflj,
.allegretto.
Muse Roval de
l'
(Brussels)
AUGUSTIN-JEAN MOREAU-VAUTHIER
83 - 89 3)
1
boxwood,
In
16.
\".
Muse du Louvre,
inscription
ot objects sculpted,
Foil. c.
843-1 9
London
NIELS
17.
Aage and
height 6'
Museum
Copenhagen
tor Kunst,
1"
18.
Incantation.
Salon of 1894.
Madame
Lorenceau, Paris
B.
Colored
glass
Collection
paste.
19.
cast in
SKOVGAARD (1858-1938).
FIse.
.Algerian Jewess.
modeled, or
Statens
0).
Gauguin."
8.
Cellini.
1869-1914).
(active
Kissing. Ivory,
Giambologna and
ith
The .in of Painting. Ivorv, green quartz, and silver, height 19".
7.
Paris
height 24".
6.
3-1 946).
LO LAPORTE-BLAISIN (1865-1923).
The
In
Paris
5.
marked
smith.
4.
compared him
ith his
\s
LUCA MADRASSi
14.
3,
tor
Comte de Ganav,
a
14)
p.
Castle, de-
15.
Duke of
to the
Kefiective .Mood.
Women
3.
monument
poraries
Paris
of a hgure on the
in the .Albert
Dampt made
1848.
Tragedienne Rachel.
the
Muse du Louvre,
The
a variant
lection
2.
is
Clarence
Kiinste, Leipzig
Here
This
(Stirlingshire)
Muse du Luxem-
bourg, Paris
20.
Paris
Primavera. 1893.
9.
ELISEO
Woman
in .issjrian Stjic.
collection,
In
was studying
TUDERTE FATTORINI
in Paris,
a bust ot a beautiful
then put
The Cor-
it
in
it
American
girl
who
marble,
medium
in
which he
(?-?).
5'
7". Private
was highly
skilled.
The eventual
Coluni-
London
fication ot
11.
The
Ice Fairy.
Bronze and
2".
Formerly Muse
du Luxembourg, Paris
10.
crystal.
From
Reproduced
American youth.
the National
in
An
Dcoratif,
London
It
and
ot
at
il
i
X. CHARLES-HENRI-JOSEPH CORDIER (1827-1905). Bust of a Sudanese
Negro. 1856-57. Marble, onyx, bronze; height 31". Muse du Louvre,
Paris.
7, 8
'"%--
0^f
11
12
13
14
15
17
19
^^^^^^^^^^^^^^^
BIBLIOGRAPHY
GENERAL
Hamilton, George Heard, 19th and 20th Centuries Art: Painting, Sculpture,
Huyghe, Ren,
Cannon Brookes,
Molesworth, H. D. and
P.
Novotny,
and Sculpture
Fritz, Painting
BELGIUM
and
Centuries,
Architecture,
New
York, 1970
1961
in Europe,
1969
THE NETHERLANDS
et la
1793 nos
jours, Lige,
1930
in de negentiende eeuw,
1904
Paris,
and Serbian
E.,
London, 1916
Sculpture,
Cracow, 1962
Narodni Galerie
v Prage,
Prague, 1961
193536
romantyzm
rzezbie,
Warsaw, 1956
FRANCE
Baudelaire, Exhibition Catalogue, Petit Palais, Paris,
1969
New
la
Monnaie,
Paris,
1966
York, 1967
Hubert, Grard,
,
Jianu, lonel
XIX^
Lami,
Paris,
1964
Bourdelle, Paris,
sicles
1790-1830,
1965
Mcon, 1898
in Sculpture,
New
XIX^
sicle,
Paris,
1914-21
York, 1944
GERMANY
Heilmeyer, Alexander, Moderne
1903
417
~a- *
4-^-,
418
GREAT BRITAIN
I8S0-I914, Exhibition Catalogue, Fine Art Society, London, 1968
Gunnis, Rupert, Dictioryary of British Sculptors, 1660-1 8S I rev. d., London, 1968
British Sculpture.
Sculpture in Britain,
ITALY
1917
in
SCANDINAVIA
Rostrup, Haavard, Moderne shulptur dansk og udenlandsk, Copenhagen, 1964
Thorlacius-Ussing, Viggo, Danmarks Billedhuggerkunst, Copenhagen, 1950
The Thorvaldsen Museum, Copenhagen, 1970
SPAIN and
PORTUGAL
New
York, 1915
in Spain,
London, 1912
Un
1966
del siglo
U.S.A.
Craven, Wayne, Sculpture
in
America,
New
York, 1968
Gardner, Albert Ten Eyck, American Sculpture, Catalogue of the Collections of the Metropolitan
Garrett,
Wendell D.,
New
to
New
of Art,
New
York, 1965
York, 1969
1962, Neuark, 1962
Museum
Museum
of Art,
New
York, 1970
York, 1924
U.S.S.R.
Arenkova, Y. A. and G.
I.
Mekhova,
Le monastre Donskoi,
Moscow, 1970
Moscow, 1916
Hamilton, George Heard, The Art and Architecture of Russia, Penguin, Baltimore, 1954
Kaganovitch, A. L. Russian Sculpture: An Anthology, Leningrad, 1966
Vrangel, Nikolai Nikolaevich,
Istoria skulptury
(Vol.
of L'histoire de
l'art russe,
Moscow, 1914
INDEX
Titles of
works
numerals
names are
in
Funeral Monument of
Edward Hodges
Baily,
Thomas
Ball,
Ballu
T/ie
(fils),
197, 17
Albert 112, 27
Monument
Coutan) 112, 27
Balmat, J., and H.-B. de
(Scott)
Ballu, Thodore,
196, 14, 15
The Death of (Allar) 46, 17
Rogers) 380, 14
memorating the
First
to the Architect
(Barrias and
Monument
Mont Blanc
Saussure,
Ascent of
(Cordier) 407, 7
Allar, Andr-Joseph 46, 17
Allegrain, Christophe IS
Allegretto (Dillens) 407, 4
Allouard, Henri 407, 9
Alma-Tadema, Lawrence 378
Almeida, Jos Simoes d' 20, 38
Almsgiving (Mendes de Costa) 288, 2
Amazon (Stuck) 168, 20; (Tuaillon) 168, 19
Amor Caritas (Saint-Gaudens) 1 27, 3
Amphitrite (Klinger) 362, 18
Amy, Jean-Barnab 256, 54
Andriessen, Mari 184, 16
Anernheima, Madame (Troubetzkoy) 142, 20
Angel Holding a Holy- Water Basin (Thorvaldsen) 47,
Algerian Jewess
Com1789
21
Barrias,
112,
20, 27;
19,
46
Bartholom, Albert
Bartolini, Lorenzo
Angelini, Giuseppe 5
Anna Paulowna, Princess (Gel) 253, S
Anonymous (LiGETi) 198, 32
Basset
Basin of the
Basset
IS; 362, S
o/"
(Bourdelle) 167, S
(Gabriel) 253, 7
Apotheosis of Louis XVI (Bosio) 318,
Apparition, The (MoKEAU) 111, 14
Archery Lesson (Hildebrand) 167, 16
Armstead, Henry
Bat
<S
(PoDOZEROv) 255, 33
Palais
(Larche) 228, 18
The (FrMIET)
2S
(Saint-Gaudens) 256, 53
Bates,
Bather
Harry
298, 35
(Stewardson) 168, 31
42 46; 47
48; 80; 85; 86; 107; 108; 110; 112; 125; 126
138; 225; 251; 253; 285; 288; 315; 316; 319
332; 334; 363; 377; 378; 405
Bayes, Gilbert 390; 391, 2
Bazzaro, Ernesto 256, 58; 335, 54, 55
BE IN LOVE AND YOU WILL BE HAPPY (Gauguin)
167, 2
Beecher, Henry Ward, Monument to (Ward) 198, 36
Beethoven (Klinger) 1 66 with Flowing Hair (Bourdelle)
Baudelaire, Charles 10; 14; 15; 16; 41
196, 14, IS
18,4
(Moreau-Vauthier) 407, S
Astruc, Zacharie 255, 44; 392, 16
(Stuck) 167, 14
Atlantes (A.
137; 293-
(Dannecker) 20, 44
(Cubero) 254, 26
Hugh
Grand
167, 13
47, SO;
297,
Apostol, Corne/ii
Athlete
to.
in
(Salmson) 88, 2S
Baltard, Victor 333, 10
Balzac, Honor de 10; 41; 79; 250; 288; 332; 389;
391 405; (Rodin) 137; 138; 250; 256, 62
Banks, Thomas 333, /
Baptismal Font, after Viollet-le-Duc (Bachelet) 319,
Apollo
23
Priscilla (J.
47, 47, 48
(Guittet) 183, 8
Alden,John, and
127, 14
(Debay) 318, 7
Alceste,
(Crawford) 333, IS
(MacMonnies)
refer to colorplates.
18, 12
Monseigneur Denis-Auguste,
refer to pages;
Adda, Countess
Affre,
Roman numerals
black-and-white illustrations;
AdAn, Juan
roman type
in
Terebenev)
18, 3
(Carstens) 140, /
Attack and Defense (Croisy) 200, S7
256, 61
419
^^K
420
/,
Bell,
333,
Portrait of
(Grome)
Claude-Louis,
4,
//; 112, 23
Monument
to
(Marochetti)
297,
to
29;
(Banks)
Wills,
Memorial
to
(Summers) 199, 44
BuscH, Wilhelm 288, 5
Bust
Bonheur)
(R.
Burgess,
12
BerthoUet,
Bull
(Stauffer) 199, 52
Buchon,
John 199
Benoist, Luc 41
to
(Mucha)
127, 10
Byblis
19,
28
198, 35
Besesti,
Antonio 330
Bichat,
Marie-Franois-Xavier,
Monument
of (David
d'Angers) 80, 7
BlEGAS, BOLESLAS 392, 24
(Stracke) 198, 29
Binon, Jean-Baptiste 195
BiONDi, Ernesto 390; 391, 3
Birch, Charles Bell 47, 44
BissEN, Herman Vilhelm 20, 49; 88,
Bistolfi, Leonardo 126; 335, S6
Blake, William 389
(Powers) 20, 39
Callamard, Charles-Antoine 20, 42
Bilderdijk, Willem
California
<?;
183; 199, 48
Edgar 127
J.
Bogliani, Giuseppe 226
Boilly, Louis-Leopold 85
Boldini, Giovanni 142
Boehm,
19, 27,
13
10; 333, 2
46
Carenica 226
Carles, Jean-Antonin 128, 16; 335, 47
40
Carpeaux, Jean-Baptiste 11; 13; 44; 80; 101; 102,
Borghese
(chantrey) 198, 41
Bowl (Laporte-Blaisin) 407, 15
Boy Fishing (Stavasser) 18, 2
Boy Fishing for Chub (Courbet) 88, 18
Boy Playing Game of Nail and King (Loganovsky) 19, 22
Boy Testing the Water (Ginzburg) 88, 17
Boy with Crab (Gemito) 88, /i
(Dalou) 168, 28
Brouwer, Adriaen 85
Bruat, Admiral,
45, 5
1 1
Tomb
o/^
(Maindron) 334, 37
peaux) 102, 4
at Work (Bourdelle) 142, 35
Carrier-Belleuse, Albert-Ernest 19; 88, 9; 102;
137; 198; 238, VI; 239, 3-5; 285; 362, 9; 380, 12
Carrire, Eugne 108; 142
Carpeaux
Benvenuto 407
Cernuschi, Henri,
Cervantes,
INDEX
Charles
Chassriau,
Thodore 315
;
315
Geoffroy de Chaume,
de, see
22
Chopin, Frdric-Franois 87 ^Wonuraent to (FromentMeurice) 112, 23
Christ, Baptism of (Rude) 319, 12
Christ Before the People (Antokolsky) 319, IS
Christ Healing the Blind (Tartarkiewicz) 318, 5
Christ on the Cross (Prault) 319, 25 (Rude) 319, 14
Christ with Mary and Martha (Levy) 318, 4
Christen, Joseph-Anton-Maria 255, 36
;
Christina
102, 5
110; 194
138; 139
Edmond
(Fosse)
10, 3
168, 28; 182; 184, 17, 18; 240, 10, 13; 254, 19;
334,
30;
378
24
(Flaxman) 46, 21
Comedy (Rush) 110, 2
Comte, Auguste 85
The (Rosso) 142, 19
Cond, Le Grand (Louis II) 77; (David d'Angers) 79
Confdence (Breton) 362, 8
Conquistador, The (Callandra) 200, 55
Conradsen, Harald 183, 4
165;
Looking
at
142,
27
16;
20,
(Magni)
to
362, 2
Claris,
cut); 318, /O
7, 8; 408,
Chaume, Geoffroy
Adolphe-Victor
421
44; 253, 4
Dantan, Jean-Pierre (Dantan the Younger) 14;
286; 287; 288, 4
Dante 108; 316; 379
D'Aronco, Raimondo 335
Daudet, Alphonse, Monument to (Falguire) 198, 34
Daughters of Satan, The (Rombaux) 142, 29
Daumas, Louis-Joseph 227, 7
Daumier, Honor 9; 10; 42; 137; 140, 6; 165;
182; 252; 256, 55; 285; 286; 288, /, 8-11
(Cubero) 45, 14
Concierge,
Constant
37
Genius of
Corbet, Charles-Louis 43
Copernicus,
295
407,
Deluge,
I/ie
(Kessels) 45, 16
//
422
Count
Demidoff,
De
335,
Cecil
Mille,
Mode! for
Anatolius,
(Bartolini)
B.
the
Monument
to
195
19,
20
Etruscan
oJ(C\RTElUR) 333, 14
Roger-douard
Deperthes,
227, 9
De Saussure, H.-B., andj. Balmat Commemorating the First
Ascent of Mont Blanc in 1786, Monument to (Salmson)
25
88,
Descent from
the
at
Eustatbis,
(Korschmann)
Desk Accessor)'
Otto
183, 2
(Droz) 362, 6
The (SoARs DOS Reis) 45, 8
Evil Genius
Exile,
//
Dias-Santos Tomb,
48
(Delaplanche) 362, //; (Imhoe)
35
19,
Evens,
(Chizhov) 183,
Despairing Peasant
(Dagonet) 362, 12
50
5,
Diderot, Denis 85
Fallen Archangel,
Fallires,
Falling
Fantacchkjtti,
Odoardo
Fantastic Animal
(Bernhardt,
Fantastic Heads
(Levy) 392, 26
(Dalou)
Digger
Ditch
17
184,
Tomb of
Dolgorouki Family,
the (artist
unknown) 334,
39
Commandments (Triqueti) 319, 19
(line cut); 389; 390;
the Ten
to
15,
Equestrian
Dying
Ecce
Lucretia
Elegant
//
Statue
of
The (Cavelier)
18,
6; 253,
15
198, 31
(Campeny) 45,
Hlgin,
(Troubetzkoy)
(Milles) 298, 40
Creature
Elephants
and
the Angel
Episode in the
22
(Skovgaard) 407, 17
Napoleonic
Equestrian Statue
from
Ermak, Timoteev 319
Escholier, Raymond 285
EscouLA, Jean 167, 4
Wars,
the Antique
Andr 44
Water (Klinger)
in the
An (Spalla) 199, 40
(GRICAULT) 296, 3
(Volkmann)
168, 24
unknown) 240,
/ /
(Dalou) 240,
First
Fountain,
Gabriel
Fireplace
142,
Lord 77
Elizabeth
10
Female Figure
Electricity
Else
(Crawhord)
168, 29
DuRET, Francisque-Joseph
C/i/c/"
(Saint-Gaudens) 195,
Felibien,
Dying
392, 20
(Christophe) 111, 17
(Lanz) 197, 19
Dumas, Alexandre {fth) 392; (Carpeaux) 102
Dumas, Alexandre (pre) 405; (Carrier-Belleuse)
227,
52
attr.)
Faure, Flix,
General
48,
17
Dufour,
Door of
Eve
IS
128,
Woman (Simyan)
Represented by a Seated
Art
Eulalia,
//
19, 17
Maurice 107
Denis,
44
First Funeral,
First Step,
Hamilton 47
Monument to (Flaxman) 333, 9
Fix-Masseau, Pierre-Flix 127, 5
Fish,
Fitzharris, Lady,
406
INDEX
Flaxman, John
4;
18,
Anatole de la.
Somme
1871, Tomb o/" (Barri as) 334, 38
Fortia de Piles, Count Alphonse 15
in
Foscolo,
(Molin) 228, 12
Fountain of the Nymph (Schwanthaler) 227, 4
Fountain of the Vintages (N. Giraud) 227, 5
Four Quarters of the Globe (Carpe aux) 102
Fox Hunt in Scotland (Mne) 296, 19
Foy, General Maximilien-Sbastien (David d'Angers)
79; 250
Frampton, George James 127, /
Franceschi, Emilio 362, /
Franceschi, Louis-Julien (Jules) 255, 45
Francis I, King of France 225
Franz Josef I, Emperor 238; (Fernkorn) 255, 34
Fratin, Christophe 10; 295; 296, 9
Fountain
Emmanuel
(Westmacott) 333, 6
BACCHi) 88, 24
Fosse, Dsir 195, 13
Frmiet,
6; 405
333, 9
Flower
423
(Millet)
85
Marc-Gabriel-Charles
Gleyre,
General Jacques-Nicolas,
Gobert,
85
Monument of (David
(Mignon) 391, 8
Goethe, Johann Wolfgang von 195
Godiva, Lady
80,
(David d'Angers)
Fulani Tribeswoman
Golden Age,
Froment-Meurice, Jacques
112, 25
(Tilgner) 255, 42
(Allouard) 407, 9
Funerary Monument (Mauder) 335, 53
Markos
18, 7
o/^
19,
16
(Daumier) 288, 10
167, 2, J; 182;
Louis Sebastien,
333, 20
Georges 295
Garibaldi, Giuseppe (Rosa) 256, 41
Garnier, Charles 79; 102; 237; (Carpeaux) 102, 3
Thophile
112, 26
Gourlot,
Gardet,
Gautier,
of (Gauguin) 255, 47
16; 41; 125; 253; 288;
Goya
Greuze, Jean-Baptiste 85
Grvy, Jules 237
(Maggesi) 111, 15
(Dampt) 88, 19
Grandi, Giuseppe 128, 22; 142, 34
Granet, Franois-Marius 78
Graves, Anna Marie, Monument to (Chantrey) 46, 19
Greenough, Horatio
285 288
Guillaume 197, 28
Geefs, Joseph-Germain 127, 2
Geel, Jan Lodewyck van 253, 5
Gemito, Vincenzo 88, 13; 379, 6
Genius of Copernicus (Vroutos) 390; 392, 13
Genius of Navigation, The (Daumas) 227, 7
Geefs,
Gavarni, Sulpice 44
Jupiter
254, 18
18
;
254, 32
141,
12
The (Rosso)
195,
the
195,
10
183, 5
77
(Carlier) 45, 15
//; 298, 33
I
424
Yvette
Guilbert,
(Cappiello) 288, 6
(Reynolds-Stephens) 127, 7
286
Eugne
11;
18;
Guinot,
Guinevere and the Nestling
Jean-Auguste-Dominique 9; 78;
Tomb o/"(Baltard; Bonnassieux) 333, 10
Ingres,
Inspiration
Iron
46
Her Bosom (Callamard)
Viper in
(Lenoir) 110,
The
Puddler,
Isabella
20, 40
(Meunier) 184, 21
Queen,
Catholic,
the
//
(Schoenwerk)
Morning
In the
Equestrian
Isabella
335, 46
II,
//
(Antokolsky) 198, 24
(Chardigny) 183, /
Harvesting Woman (Wijk) 184, IS
Hasselberg, Karl Peter 362, 16
Haudebourg-Lescot, Madame (David d'Angers) 80, 3
Haussmann, Baron Georges 237
Harvesting Olives
IS
Izso,
Jackson, Andrew
(Powers) 254, 28
Jacobsen, Carl 20
(Vigeland) 110, 5
10;
295,
and Ablard
to
Hlose
Monument
(Oms) 194
Hell
315;
42
20,
17
Hannaux, Emmanuel
Warming a
Innocence
d'Angers) 80, 2
Incantation
o/"
Reading
(Vitsaris) 334, 41
Together
(Chatrousse)
Vaccine
(Monteverde)
Rudolf Ludwig,
Jenner,
12
183,
Monument
to
(Sonnenschein)
45, 4
47, 39
S6
o/"(Westmacott) 45, 2
Horse (Myslbek) 296, 14; (Tuaillon) 296, 12
Horse and Horse Tamer (Klodt) 19, 2/
Horse, Head of a (Gibson) 296, 16
Horse Tamer (Hofer) 168, 21
Horse Walking (Degas) 298, 4/
Holocaust (Bistolfi) 331,
(Hunt) 296, 2
Houdon, Jean-Antoine 7; 8; 16; 18,
Horses of Anahita,
(Forain) 288, 7
10
Jianou, lonel 45
198
Jones,
Joseph,
(Warner)
254,
22
JouFFROY, Franois 2 56; 362, 3
Jouin, Henri 18; 44; 78; 79; 182; 225; 332
Jourdan, Count Jean-Baptiste 78
Joursauvault,
Juno and
Baroness
of
(Proudhon)
19,
21
of the Milky
(Bystrom)
254,
Way)
28
Klagmann,
The
/;
19; 42;
183, 9
KuRSAWA, Antoni
110,
12
A (Bissen) 88, 8
Waiting, Monument
334, 32
Lafayette (Larche) 199, 47
Lady,
(Gilbert) 127, 6
Fairy, The (Causs) 407,
Lady
Icarus
Ice
Ignis Fatuus
(Pegram)
10,
/ /
(S
in
to
Ester
Piaggio (ScANZl)
INDEX
(Bartholdi) 198, 43
Lalaing, Jacques de 335, 52
Lamartine, Alphonse de 249
Lambeaux, Joseph-Marie-Thomas (Jef) 166; 392,
Lafayette
and
Washington
425
Louis
181
<?
Women
1789 (Gaudez) 198, 46
Louis-Philippe, King of France 10; 193; 315
Lovers, The (Hildebrand) 167, 10
Lucretia, Dying (Campeny) 45, 5
Louison the Flower- Vendor Leading the Market
in
the Revolution of
Lami, Stanislas
Lamoricire,
General,
Tomb oj
{Meditation)
(Dubois)
333, 13
Luisa
Laocon 43
and
(Schadow) 47, 30
The Princesses
Friederike,
21
128,
Laporte-Blaisin,
Oxygen
in Air
(Barrias)
(Gauguin) 167, 3
Clerc
de Juign,
Monseigneur,
Archbishop
of Taris,
Leconte
St.
Mary, Transported
of
37; 379, 7
Manet, Edouard 19
Manet, Julie, Head
167, 8; 182
Man
Man
Lemoyne, Jean-Baptiste 15
Lenoir, Alfred 110, //; 165
Leonard, Agathon 127, 12
Marcello (Adle
318, 10
3
Levy, Vaclav 110, 5; 318, 4; 392, 26
Liberty Leading the People (Delacroix) 41
of Liberty
(Pradier) 18, //
Marseillaise, La:
196,
16;
(Ball) 197, 17
(Rush) 254, 24
Lion of Aspera (Fernkorn) 298, 38
Lipchitz, Jacques 166; 167
Liszt, Franz (Strobl) 197, 25
Linnaeus (Carl von Linne)
Little Fisherboy,
Little Girl
Little
Crying
(Bartholom)
Relic Bearer,
(Canova) 333, 2
Levittoux,
Light Poetry
o/^
Gotthold Ephraim 1
(Blaser) 195, 8
Lincoln,
Duchess of Castiglione-
d'Afifry,
I,
(Morisot) 255, 49
Colonna) 240, 8
Little
Heaven (Maroch^TTI)
Lessing,
to
319, //
(PUECH) 110, 9
Leda (Hildebrand) 380, 15
Lederer, Hugo 167
Leenhoff, Ferdinand 19, 18
Lejvre (ne Soubise), Madame (Carpeaux) 102, 2
Lefuel, Hector 237
Leopold
127, 14
195, 5
Lawrence, Thomas
Le
Livy 79
407
405 407
;
334, 31
18
112, 28
362, 15
167, 13
19,
22
to
(Fadrusz) 199, 54
to
(Verlet)
Maximilian
^Fmrm
426
Mazzuccbetti
An
Medieval
Munes, Alberto 20
(Linder) 127, 8
Tomb of General Lamoricire (Dubois)
MuNRo, Alexander
47,
(Peter) 380, 17
36
Meditation, from
Muse,
r/ie
333, 13
Meili, Heinrich 227, 3
Music
19
10;
319, 22; 334
Michael the Brave, Prince of Wallachia 194; (CarrierBelleuse) 198
184,
19,
Michael the
Mignon, Lon
yWi^rant5
391, ^
(Daumier) 140, 6
335,
167,
6,
7;
168,
25;
(Amy) 256, 54
to
(Rossi) 333, 5
22
Mother and Child on a Tomb (artist unknown) 333, 17
Mother and Daughter (Troubetzkoy) 142, 21
Mother and Dying Daughter (Rodin) 140, 7
Mother Weeping over Her Dead Child (Minne) 167, 6
Motherhood (Vallotton) 168, 26
Mountain Man, The (Remington) 297, 24
Mounted Torchbearer (Frmiet) 198, 30
Mother, The (Cecioni) 88,
19,
20
127, 10
The
Russian
(Frampton) 127,
"Nana" 239
Napoleon I 8; 46; 142; 193; 194; 197; 198; 315;
(HouDON) 18, /; (Rude) 329
Napoleon, The Dying (Vela) 198, 23
Napoleon, Equestrian Statue of (Le Vel) 197, 20
Napoleon III 237; 239; 316
Napoleona, Princess (Bartolini) 379, 4
Napoleonic Wars, An Episode in the (Spala) 199, 40
Nature,
and
Mysterious
Science
Veiled,
(Barrias) 112, 19
New
The (Croisy)
Salome,
20
380,
Auguste
de
(Niederhusern-Rodo)
Nieuwerkerke, Count
of,
Alfred-Emile O'Hara 8
316
Scaevola,
Mysteriarch
255, 48
43
Mucius
Niederhusern,
378
Mucha, Alphonse
Myers,
195, 7
Milles,
Mistral, Frdric
14; (Myslbek)
137; 139
Mickiewicz,
18,
142, 24
(Demut-Malinovsky)
(HuGUEtiln)
46, 33
Odin (Fogelberg) 48, 56
Oleszcynski,
Wladyslaw
Olympus (Clsinger)
253, 3
17
INDEX
10; 391, 5
Osiris 332
Our Dear Mother (Strobl) 88, 27
56
(David d'Angers) 254, 31
Pailleron, Edouard, Monument to (Bernstamm) 112, 23
Pajou, Augustin 20
Pakenham and Cibbs, Generals, Monument to (Westmacott) 333, 6
Palagi, Pelagio 226
Palmer, Erastus Dow 47, 40; 87; 379, 5
Pan and Psyche (Begas) 379, /
Paolo and Francesco (Munro) 47, 36
Paradise Lost (Dieudonn) 47, 37
Paderewski, Ignace (Gilbert) 256,
Paganini, Niccolo
Parasites,
(Carabin) 183, 13
(Flamand) 128, 17
Pascal, Franois-Michel (Michel-pascal) 319, 16
Pasche, Albert 334, 25
Parisian Couple Dancing
The
Parisienne,
Monument of
the
427
49
(Marcello) 240, 8
(Varni) 335,
(Canova)
27
Quatremre de Quincy 10
Queen of Sheba, The (Ferrary) 364, IX
Queirolo, Francesco 330
Monseigneur
Quelen,
Louis
Funeral
de.
Monument of
Percier,
Perfume,
Prignon,
Charles 77
The (Vallgren) 128, 20
Marshal, Tomb o/" (Plantar) 333, 12
Rachel, Portrait o/
(Barre) 407, 2
88,
(Dillens) 296, 5
and Pegasus (Chalepas) 167, / /
Perseus Freeing Andromeda (Chinard) 19, 3/
(Duret) 253, 15
(David d'Angers) 17; 20, 48;
Perseus
Perseus
Racine,
Monument
to
78
(Daumier) 288, //
Persuasion (Godebski) 362, 4
Peter, Victor 380, 17
Peter Pan (Frampton) 127
Petofi, Sandor, Monument to (Huszar) 197, 22
Radziwill,
Phidias 45
Persil,
Portrait
Philip,
o/"
196, 15
Ester,
Monument
to
(ScANZl) 334,
Resignation
His
Weary
Way,
of,
Pierre- Alexis
Robert 288
Reynolds-Stephens, William 125; 127, 7; 128, 21
317
405
(Dalou) 184, 18
Poussin, Nicolas 46; 79; 286
Poverella {Poor Young Thing) (Vigne) 362, 13
Powers, Hiram 20, 39; 48, 54; 87; 168; 254, 28
Prachner, Vaclav 18, 15
Potato Picker
Terebenev) 227, 2
Rey,
'
The'
Viscount
(I.
Terrail,
24
(Orlans) 319, 17
(Canova) 46, 20
(Clsinger) 111,//; (French) 228, 16
Fiomeward
(Chinard)
Ploughman
10;
Reflective
GusUve
253,
32
(Freund) 47, 45
Piermarini, Giuseppe 239, 6
PiGALLE, Jean-Baptiste 15; 18; 107; 181
Piles, Roger de 44
Pilon, Germain 237
Planche,
18
253, 8
Picking Flowers
Pilot
Madame (Canova)
Rcamier,
(Chinard) 254, 23
Philipsen, Theodor 298, 30
Philippe galit
Piaggio,
2 54,
78
John Birnie
(Leroux)
Rivalta,
88, 2
(Bartholdi)
228, 10
Rivire,
362, 15
^^
^-
^^^Tl
428
Robert, Elias 20
Rodin, Auguste 8; 11; 13; 44; 47; 80; 102; 107;
108; 110; 111; 126; 137-40; 140, 7-/2; 141,
13,14; 142; 165; 166; 167; 184; 240; 249;
250; 251, VII; 252; 255, 43; 256, 62; 285; 295;
296; 332; 363, 23; 392, 23; (Troubetzkoy)
256, S9
Rogers, John 194; 198, 39; 380, 14
Rogers, Randolph 87; 379,
RoiG Y SoLER, Juan 392, 18
Rolland, Colonel, Defender of Le Bourget, Monument to
(Bloch) 199, 49
RoUinat (Carries) 256, 52
RoMBAUx, GIDE 142, 29; 392, 21
Rosa, Ercole 226; 228, 13; 255, 41
Rossetti, Dante Gabriel 127
Rossi, John Charles 333, S
Rossi, Pellegnno (Tenerani) 88, 26
Rosso, Medardo 8; 13; 108; 126; 139-40; 141, 17;
142, 18, 19; 256, 60
RouBiLLAC, Louis-Franois 85; ,330
Anders
Rounblom,
Mathias,
The
(Rounblom) 255, 40
Rounblom, August Leonard
Rousseau, Victor 126;
391,
Swedish
255, 40
6,
Rude, Franois
329
Rush, Joseph 254
Rush, William 110,
Russian
228, 20
8;
Russian
Bell-Founder
227,6; 319,
/,
12, 14;
2; 254, 20
ScHALLER, Johann Nepomuk 18, 8
Scheffer, Ary 316
Schiller, Friedrich von 20
Schiller and Goethe, Monument to (Rietschel) 195, 12
Schoenwerk, Alexandre
24
Fleet, Resurrection of the (I. Terebenev) 227, 2
Mucius Scaevola, The (Demut-Malinovsky) 19,
2; 254,
20
Ruxthiel, Henri Joseph 19
Rysbrack, John Michael 330
40
(Degas) 88, 12
20-,
Seasons, The
Seated Bather
Seated
Seated
Secret,
Seduction,
(Chatrousse)
Seigneur, Jean du 45, 7
Self Portrait (Daumier) 256, SS
Self-Portrait on the Sculptor's Tomb (Carries) 112, 29
Sergel, Johan Tobias 19, 24
Servais-Godebska, .Madame Zofia (Godebski) 255, 37
Shchedrin, Fedos Feodorovich 7; 15
Sheba, The Queen o/" (Ferrary) 364, IX
Sheep
/,
46
(I.
Bonheur) 298,
31
(Maindron) 379,
5/)ep/ierc/e5j
(Ferenczy) 380, 13
/;
196,
16;
256,
S3;
SI
335,
(David d'Angers) 78
Hungary (Gilbert) 407, 12
SiSLEY,
St.
Cecilia
St.
Flizabeth of
Sisters
St.
Sisters
St.
St.
St.
St.
St.
St.
St.
(Hildebrand) 166
Jerome (Piquer) 48, S8
John of God (Vallmitjana) 319, 24
John the Baptist (John) 319, 18
Luke and the Bull (Desroches) 318, 2
.Mary .Magdalen Transported to Heaven (Marochetti)
Hubert,
Fountain
o/^
319, //
of Bethany, The
Illusion,
(Wood)
19,
29
of
Sizeranne, Robert de
la
138
Sleeping Reaper
Sluggard, The
(Leighton) 168, 30
(Monteverdi) 183, 12
(MoiGNEZ) 298, 32
SoARs DOS Reis, Antonio 20; 45, 8; 254, 29
Sobakina, Mme. M. ., ne Princess Mesherska, Funerary
Monument to (Martos) 333, 18
with
Snipe
St.
St.
Sebastian
10
(Bourdelle) 319, 23
Salammb, .Mathd
cault) 140, 4
ScANZi,
Alfred 6; 138
Giovanni 334,
32,
40
(Minne) 167, 7
Sommaruga, Giuseppe 330
Sonnenschein, Johann Valentin 45, 4
Sorrow (Pleszowski) 88, 20
SouFFLOT, Jacques Germain 15; 315; Bust o/" (Danton) 16
Souk, Marshal, Minister of War and Foreign Affairs in
Louis-Philippe's Cabinet, Portrait of (Dausmer) 288, 8
Spalla, Giacomo 198, 40
Solidarity
I
i
INDEX
28
John 87
Sparkes,
Tobacco Joe
Spring, The
Stag
Stag
(Maillol) 168, 33
Bonheur) 298, 34
Beetle (Pompon) 297, 26
(I.
(Jacquemart) 296, 18
(Proctor) 298, 37
Stappen, Charles van der 108; 127, 9
Stark, Robert 295
Statue of Liberty, replica of (Bartholdi) 240, 12
Statuette (Larche) 127, //
Statuette of a Woman (Carabin) 392, 27
Stauffer, Karl 167, IS; 199, S2
Stavasser, Peter Andreevich 18, 2
Steam (Chapu) 112, 21 226
Steinlen, Thophile-Alexandre 285; 390
Stendhal 1
17; 41 85 86; 193 237
Stag Hunt
Stalking Panther
(Gauguin) 407, 16
24
429
(Carpeaux) 101
(Cros) 407, 19
Stracke, Johannes Theodorus 87; 198, 29
Strasser, Arthur 198, 37
Strazza, Giovanni 319, 20
Strobl, Aloys 88, 27; 198, 2S
Struggle of Two Natures in Man, The (Barnard) 142, 31
Stuck, Franz von 128, 18; 166; 167, 14; 168, 20;
295
Sucharda, Stanislav 379, 2
Story of Water, The
peaux)
The City
102,
of.
Malinsky) 88, 5
Valet (J.
Valette,
(Cecioni) 46, 18
Sullivan, Louis 166; 330
Summer and Spring (Carrier-Belleuse) 239, 3
Andr
10, J
(Montagne)
197, 27
Suicide, The
Supreme
Kiss,
Venus
(Fogelberg) 18
(AdAn)
18, 12
and
the
(Niederhausern) 255, 48
Thornycroft) 297,
Vigeland, Gustav 110, 6
ViGNE, Paul de 362, 13
Horseback (T.
Vigny,
(DoR) 392, 17
Theseus
18; on
21
(Saint-Marceaux) 112, 18
VIOLLET-LE-DUC, EuGNE 318, 9; 391, 21
Vitellius, Portrait of (Brancusi) 8; 198, 38
Vitsaris, Jean 334, 41
Vittorio Emmanuele, King, Monument to (Rosa) 226 228,
13
Vivant Denon, Dominique, see Denon
Vine, r/ic
VoLKMANN, Arthur
Voltaire (Houdon) 42
168,
24
430
198, 36
Wilhelm
Wills,
One More
Shot (].
Rogers) 198,
(Lambeaux) 392, 14
Wrestlers
(Jouffroy)
Man
with a Lance
(Georgescu)
19, 19
to Life
by the Shepherd
II
(Summers) 199, 44
WiLLUMSEN, Jens Ferdinand 392, 19
Winckelmann, Johann Joachim 15; 194
Winged Genius Sacrificing a Bull (Rude) 45, 3
Woman Bitten by a Snake (Clsinger) 46, 24
Woman Caressing a Chimera (Dencheau) 362, 14
Woman in Assyrian Style (Fattorini) 407, 10
Woman of Gaul (Rude) 17
Woman of Samaria, The (Rinehart) 19, 34
Woman with Peacock (Falguire) 363, 21
Woman with Umbrella (RoiG Y Soler) 392, 18
Women Kissing (Madrassi) 407, 14
Wood, John Warrington 19, 29
Rear"
(Meissonier)
39
Young
(Garrard) 296, 17
194; 379
W. J., and Robert O'Hara Burke, Memorial
the
Malinsky) 183, 3
Siege of Paris
to
(Crauk) 19, 2 S
(Hildebrand) 228, 19
Youth on a Sea-Horse
Czartoryski,
(Bartolini)
334,
Countess
Sofa,
Monument
to
28
ACKNOWLEDGMENTS
/ wish to
thank M. O'Meara,
my kind and
Mme
Agusti,
Gail
Rouen; Jean-Max Leclerc, Paris; Marcel Lecomte, Paris; MauLe Roux, Paris; Alain Lesieutre, Paris; George Levitine,
rice
Livingston,
W.
Milan; Dr. A.
Prince
Em-
Bristol;
New
Paris;
Dott.
Caterina
Jiri
Masin,
MellinghofF, Essen;
F.
Zbigniew Boghenski,
falo; Franoise
manuel R. Bodgan,
Decker,
Elisabeth
Berlin
Dr.
Prof.
Paris;
Henri-Franois
Duchne,
Paris
N.C.
Hugh
A. Eudy, Hendersonville,
Italo Faldi,
Rome;
Mouradian
et Vallotton, Paris
Vienna;
J.
don; Leslie
Parris,
Dott.
Politis;
Franca, Lisbon;
J.
Ellen
Goldscheider,
W.
Paris;
Dr.
Susanne
Philadelphia;
Gray,
Heiland,
Leipzig;
Maurice
Herzog,
Bucharest;
J.
Athens; Dr.
Janusz Przewozny,
New
Johnson,
Baltimore;
Joosten,
Kotalik,
Amsterdam;
Prague;
Dr.
F.
Marinos
Kalligas,
Lahusen, Cassel;
Edouard
Theodore Rous-
Wulf Schadendorf,
Treviso; Gyde V. Shepherd,
lonel
Diana
Jianu;
Poznan
O. Popovitch, Rouen;
Popofif, Paris;
The Hague;
M.
Jiri
Mme. Alexandre
Christian
Vemes,
Hermann Warner
Zdzislaw Zygulski,
A.
Paris;
J.
M. van der
Vaart,
Williams,
Jr.,
Washington,
D.C;
Cracow.
^m
PHOTOGRAPHIC CREDITS
The author and publisher wish
to
thank the libraries, museums, and private collectors for permitting the reproduction of sculptures in their
Photographs have been supplied by the owners or custodians of the works of art except for the following, whose courtesy
collections.
is
gratefully acknowledged :
2, 9, (8) 29,
(9) 6, 7, 22, 25, (10) 19, 21, 22, (11) 28, (14) 5, 38, (16) 5,
Troyes (1) 4,
Andr Gomet,
raudon, Paris (1) 27, (11) 23, (12) 14, (13) 6, (17) 20, (18)
Bernard Anginot,
lon,
1,
New York
36; Art
Vendme
(9) 5
Dcoration,
et
Apol-
(18)
New York
56;
52,
(11)
Atelier
d'Art de Paris (7) 19; Direk Balmer, Bristol (2) 47, 48; Pierre
Batillot, Paris (8)
21; Frederick O.
nardoy, Athens (18) 42; Bevilacqua, Milan (18) 23, 54, 55;
Photos Bianquis,
Dole
Communale
5, (9)
(21) 22;
Hen-
32, 49,
Paris (7) 5;
Weimar
(11)
12; Peter
Heman,
Hamburg
Lourches (6)
Brogi, Florence (18)
(17) 3; Mas, Barcelona (1) 12, (2) 5, 12, (11) 3, (12) 20, (17)
33; Edizioni Brogli, Milan (12) 13; Bulloz, Paris (2) 57, 59,
Meury, Besanon (14) 19; Meyer, Vienna (11) 37, (14) 34,
42, (16) 38, (18) 2; John Mills, Liverpool (7) 1 Ministry of
Culture, Moscow (1) 2, 3, 7, 16, 20-22, (4) 15-17, 21, (8)
A.
Saffi,
(2) 33
19;
J.
Camponogara, Lyons
Bleja,
Cameraphoto, Venice
Castellanos,
(8)
(14)8;
Paris (13) 1;
Bordeaux
19;
15,
(6)
M.
Desjardins,
Paris
(14) 61;
Jean
Cracow (4)
6; Josef Ehm, Prague
24, (21) 18; Studio Maywald, Paris (9) 9, 27, 32, 33; Studio
2, 22, (10) 9,
11, (11) 7,
(I I)
46, (16) 4;
(10) 7; National
3,
Rouen
(4) 7, (12) 9;
Society,
Flammarion, Paris
F. Elbridge,
London
Guild-
Antwerp
(21) 14;
4;
National
J.
13, 15, 18, 19, 27, 29, 31, 32, 39 (17) 6-13, 16
17;
3, 9,
7-11, (16)
Moreau, Tours
Park Service,
(1)
1,
J. -J.
22-27, 29, (8) 4, 6, 32, 33, 36, (9) 3, 26, 28, (10)
17, (11) 30, 42, 53, (12) 18, (13) 4, 5, 7-11, 13, 14, (14)
14, 16,
41; Photo Piccardy, Grenoble (8) 23, (11) 21, (16) 11;
P. C. Pignon,
(18) 10-12, 14, 17, 20, 24, 25, 29, 30, 37-39, 46-48, 50,
9; Teofilo Rego,
(19)
Nazionale,
Rome
Soprintendenza
all
Gallerie,
Florence (2)
18,
23,
(4)
2;
1,
14,
19,
(5) 1-3, 6, (6) 17, 20, 21, (8) 10, (9) 2, 13, (10) 14, (11) 5,
Porto (2) 8;
M.
(9) 11;
(18) 31
5,
Serejo, Lisbon (1) 36, 38, (2) 22, (4) 23, (11) 26,
5, 11,
15; Sperryn's
Reims
mes, Paris (4) 13, (7) 13, 16, 20, (10) 13, (14) 60, (20) 19;
Ornans (4) 18; Tuvanoduku, Athens (21) 13; U.S.
9, 11, 13, 43, (12) 1, 8, 17, (13) 2, (14) 23, 25, 39, 43, 52,
Thiriat,
54, 62, (16) 28, (17) 25, (18) 13, 19, 45, (19) 2, 3, 8, 9, 11,
12, 15, 20, 21, 23, (20) 16, 17, 20, (21) 12, 16, 23, (22) 2,
(6) 6;
9, 16,
Figli,
Bo-
I
I
v^WM
^Juy^tLwjmw^^i^^
kv
'??^55555?'?55W^
.,.^,^
X
ABRAMS ARTBOOKS
SOME
19TH
Painting
Sculpture
Text by George
487
ART:
Architecture
Heard Hamilton
illustrations, including
64 plates
color
in full
Price $28.50
511
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48 plates
color
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BRANCUSI: The
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52 plates
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THE FAUVES
Text by Gaston Diehl
130
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Price $25.00
VUILLARD
Text by Stuart Preston
138
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IMPRESSIONISM
Text by Pierre Courthion
314
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Price $22.50
391
illustrations, including
18 plates
in full
color
Price $25.00
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