Evening star. [volume] (Washington, D.C.) 1854-1972, 1876-01-29
BARYE, THE SCULPTOR.

therefore give the following well-informed
chapter OF his history from the pen OF Mr.. T.
II. Eartett, furnished to the n. Y. Tribune in
answer, or by way Of supplement to letter
OF Mr. Henry James, Jr., on Barye's bronzes:
Barge has been spoken OF as a specialist"
IN the sense that he made animals only, aud
therefore could not make the human figure.
He was specialist in the sense that he
made many animals, but he could make the
human figure as well. Two of the largest
groups now ornamenting one OF the pavilions
OF the Louvre were made by Barge. They are
composed OF two figures each. and are con-
sidered grand in both composition and exc
cution. They are remarkably successful in
their composition, because II Is very rare to
see two figures so well composed that they
Will LOOK well from every point OF view. Mr..
James says that "Barye worked for the
trade, and his works were numerously repro
duced on small scale" Working for "the
trade" in Paris means that the sculptor or
mOdeler makes his models in plaster and
sells them to the bronze manufacturers. and
that when sold the interest and care OF the
models or their bronze duplicates by the
sculptor ceases. No good or first-class sculp-
tors in Paris work for "the trade" Those
who do so are not called sculptors in the art
sense Of the word. Barge not only did not
work for "the trade" but he was as far re-
moved from 1t as one could imagine. He
worked for himself, by himself. and made
his meager sales from his own home
at No. Quai des Celestins. He car
rled his independent and classic am
o., h,o IN the the, production OF his works
any sculptor known In history, with the eX-
ceptiOn, perhaps, of Cellini. He understood
perfectly the high requirements of work of
sculpture, and no piece OF his handi work
was permitted to leave his possession until
II was as perfect as he could make it. His
works were not only too good for "the
trade" but they were Iot recognized by "the
trade" for the simple reason that there was
no demand for such work. The trade could
not sell them. The moment that work of
sculpture falls into the hands of manufac-
turers for reproduction, that moment begins
its degradation. The best works of scuIp-
ture in Europe come rom the sculptOrs. not
from dealers or manT facturers. "What will
become Of my models" was one OF Barye's
great anxieties during the last part OF his
life. He feared thai they would fallltnto the
hands of manufacturers even ,ually and be-
come ruined. There other sculptors in
Paris who have similar care for their work.
In this country any one who sets up for a
bronze founder with inferior workmen to 10
the work for him, is ready TO undertake the
erection of the most extensive wO.ks of
sculpture in the United States is made 10y
such men. and ninety-One hundreths OF the
brODZeS sold here are made by ''thc trade" TO
sell 10 me American savages," as. We are IN
such matters justly called.
His interest and eXactionS in the art Of
bronze founding were so great that no bronze
founder could please him, although the
founders OF Paris are the best in the world.
he started foundry of his own, and knew
more about that art than any person he
could get to work for him either for love or
money. Strange as II may appear 10 the
average American, there are persons con
nected with the fine arts in Paris who work
for the love OF the thing. Barge was one of
L EN-, and was obliged to accept poverty as
the inevitable partner. The example of his
life and his precious works are of more value
to his country than many fortunes. His
models were not reproduced on a small
scale;' they were cast IN bronze and sold of
the original size, with a very few exceptions.
While Barry was well known among artists
in Europe, and called by them an dielL. the
world generally had little knowledge of him.
1here was no general sale OF his works
Artists sent their friends 70 his house u SO
and buy If they would. Very Jew of his
bronzes were to be seen in the art stores @.
Paris. The first brought TO this country ar
In Boston, and were purchased by Mr.. w. NJ
Hunt, the painter an intimate friend of the
sculptor. Barge was not a success at the
Ecoie deS Beaux-Arts. He JAILED in the Cyn
c0aTS Tor the Grande Prix de Rome after sew
eIal trials, and left the school In disgust
Academic rules for the training of art genius
did not agree with his style OF talent. His
Thought and style were in direct sntagonism
TO that then prevailing, and consequently he
had hard work to gain recognition. The first
public order was from King Louis PHILIPPE
for the group OF the "Lion and Serpent"
| now I'm the Tnileries Garden. Barge was in
deep poverty, and agreed TO execute the
group for small sum, but before the King
would accept 1T he Obliged the sculptor to
make large deduction from the price agreed
| upon, all the time declaring that the work
was q masterpiece.
Although Barge is reported as the strong
| est animal sculptor since the ancients, he
was too sensi BILE man and too true an art
list to regard his work equal to that made by
| CARDS the antique treatment of the lion in
sculpture ''as sort of ingenious compound
OF the sphinx and poodle" Barge regarded
a IL as tne highest , art No one paid more
OF an Egyptian lion in sculpture than did
the French sculptor. The magnificent real
ism OF Bayre's bronzes gather no glory by
long since received the verdict OF master
pieces in that style OF art. The purpose OF
Baryes conceptlons were not to show the
to surmOunt difficulties in his art, as IL has
been asserted. He illustrated in q grand
manner the prominent characteristics of
wild animals. The act accomplished was al
ways secondary 10 the splendid exhibition
OF strength In accomplishing IL. II leo
pard captured Kid the unfortunate condi-
lion OF the latter was forgotten in the perfect
and powerful movement of the leonard. Not
one of his works show the least indication
OF bIutlsh cruelty for cruelty's sake, or a de-
light IN any OF its manifestations. In tle
group OF THE Jaguar and Crocodile" in the
Luxembourg gallery, the crocodile is hardly
observed, SO noticeable is the representation
OF Inc Jaguar. To surmount a difficulty as
d1fhculty simply was the least of Barye's
thoughts. A composition that would appear
pllhcult TO an animated observer is a sim
pie and easy matter for such men. Tue
difficulty he had 20 surmount was one
OF bread and butter. The apparent
lmpOSsibllity OF attitudes and combna-
tlOns III us WOIh are no more nor less tlal
natural and truthful ones, as they express
the chief and grand characteristics OF the
animal The horse which made him fnmous
as sculptor OF horses has long been regard
ed as the most superb composition OF that
animal known in sculpture. When IL was
first exhibited in Paris the horse ad Iniring
public were divided into two parties; one de-
claring it the best thing OF the kind yet pro-
duced, and the other that IL was no horse at
all. They decided to leave the matter to the
great horse man at the circus. Those who
d1sliked the horse asked, "Have you ever
seen such horse as that?" "Not but have
been looking for one like 1t for forty years =,
NO sculptor OF modern times has treated so
large number Of subjects with such con-
summate grasp and elevation of conception.
Inc composition Of q candlestick was as
seriously and successfully composed as IL
done by Greek. He executed large num-
per OF ornamental works, all Of which bear
Inc stamp OF q master mird. Even in the
excited movements of the widest animal
there Is sense OF repose and power that
astonishes. No subject was too simple, and
none that he did not touch with grace His
long, laoorious, and suffering life, presents q
contrast to that OF the vast majority of sculp-
tors such as we can hardly appreciate. or
all the great sculptors which France has
produced In century, Rude and Barge have
truly mSue another Renaissance. Barge re-
Se1ved all OF the marks OF distinction that