The sun. [volume] (New York [N.Y.]) 1833-1916, 1891-12-06


at the expense Of the nation. almost as ieno
rant as when he left Paris.
THE Ark1Ixrs OF PARIS.
The present system Of ateliers was instituted
in 1853. when the three ateliers OF painting
were founded. and when Pills. Cabanel. and
06r6me were appointed professors On many
occasions have confessed several OF the most
| distinguished pupils Of the Ecole des Beaux
Arts who have passed through the atelierf
since 1883 and obtained the Prix de Rome.
One or two only ventured to mako faint de-
fence Of the alma mater: the others con-
demned the whole system and regretted the
time that they lost in the Ecole I do not
| speak OF Bernard. who has made such noble
and successful efforts Of late years to forget
| all the bad habits which he contracted in
the Ecole des Besux Arts and at the villa
Mediois. The strong and violently irreconcil-
| able nature Of this eminent artist might make
his testimony unacceptable. At the present
moment have in mind an equally distin-
guished Prix de Rome who was proposed as q
candidate for the Institute last week. Talking
with this artist the other day. was surprised
at the completeness Of his condemnation Of
the Ecole des Beaux Arts. II learnt nothing
there" he said. because there is nothing to
be learnt Tho criticism OF the professors Is
limited to the pointing out OF details without
the explanation why and wherefore. The
Ecole des Beaux Arts Is full OF treasures Of oil
kinds. but the professors never think OF sug-
costing to the pupils the ACCESSIBILITY Of look
ing at these treasures. Who ever heard OF a
professor at the Beaux Arts sending pupil to
paint a bit OF landscape. to work in the open
air. TO draw flower. to draw a horse? All the
study is from the nude. md yet a picture is not
composed Of nudity alone. hut OF all things in
mn tfvya Nd In tt A ,vH No ~
tered rs a ploughboy: the professor will not
advise him to attend the literary lectures.
How to draw. how to compose n palette. how
to paint how to compose. are things which the
professors do not explain. The professor
never sends pupil to look at picture in the
Louvre. for instance. No effort is made to
awaken and direct the curiosity Of the
pupil He is left to founder and find
his way as best he can. with the aid
OF the laconic observation that the head is too
small. the legs too short. the color too dark. or
the shadows too bituminous. When I won the
Prix de Rome" continued my interlocutor. II
did not know what were the characteristics Of
tho different styles Of architecture: and before
I started for Rome remember going with the
architect Of my year to Notre Dame. where he
explained to me the differences and principles
Of the styles from the twelfth to the fifteenth
century. Remark that was then % years OF
age. and I had spent six years at the Ecole des
Beaux Arts No professor had ever suggested
that should 60 and look at Notre Dame. I
had never looked at Notre Dame"
And what do you think OF the system Of the
free ateiiers p asked rs there more to be
learnt at the Academic Julian than at the
Ecole des Beaux ArtsI''
AT Julian's the system Is the same as at the
Ecole des Beaux Arts You have the studios
crowded with nifty or sixty pupils. and the
professors who come to correct twice week"
And give three minutes to each pupil Z
Yes. and tell him that the head Is too small
or the legs too long. Yes. So far as concerns
the ateliers. the Academic Julian is Just as
good as the Ecole des Beaux Arts. and has the
advantage OF not being encountered with the
formalities that are connected with the admis-
sion to the ateliers OF tho National Govern
ment school, On the other hand. the Academic
Julian has not the Theoretically admirable Sc
ries OF lectures and classes. outside the tech
meal school, which the Ecole des Beaux Arts
possesses.
But what asked. Is the use OF these
classes II the pupils OF the ateliers do not at
tend them!
Evidently the weak point Is the fact that
the pupils OF the Ecole dos Beaux Arts In the
painting section are not sufficiently controlled
oy the professors Inc pupils go 70 the anat-
omy class or NOT as they think proper and
when they thlnk proper. me same Is the case
WIN 'he classes Oh perspective. history OF art
arehHoloey' Ornamental orawlhe' &c. Cniess
student IS naturally curious. he VIII not feel
any temptation 10 STUDY the various oranches
OF knowledge ana inquiry that are connected
win the ART OF painting: ana as Tor
any POSITIVE announcement TO pursue
such Stuules' ne Will unu none at the