The Worcester spy. [volume] (Worcester, Mass.) 1898-1904, 1898-10-26

were: Scenes de la Vie de st Genes
We've from 1873 to 1879, for the Pam
theon, and the great composition, PRO
patrio Ludus" Staircase of the Amiens
Museum), which won him the "Medail-
Ion d'Honneur" In 1874 he painted
"Bois Sacre," to which were subse-
quently added three other compositions
Vision Antique" inspiration Chre-
1ienne," and lie Rhone ct lie Saone. /"
Those four compositions are placed il
the staircase of the Museum Of Lyons.
From 1886 to 1889 he painted the large
'tHemicycle of the Sorbonne," and in
1880 Inter Aries ct Naturem," for the
staircase of the Rouen museum.
He is best known in this country from
his work that occupies a prominent
place in the Boston public library. He
painted the great series of mural deco
rations for the grand staircase hall.
The main portion occupies the entire
length of the wall of the long corridor
and shows the muses. welcoming the
genius of enlightenment. Facing this
larger painting are eight panels, ranged
along the other three walls of The hail.
The subjects are: Astronomy, chemist
ry, dramatic poetry, epic poetry. his
tory, pastoral poetry, philosophy and
physics.
The death of Puvis de Chavannes is
not without local interest. Nearly ev-
cry local artist and art lover has had
the work of this great artist brought to
his attention by the presence of his
decorations in the Boston Public Lii
brary. The largest fresco is Inspiring
Muses. Railing Genius, Messenger Of
Light. There are, besides. a number
m
grand staircase. Probaly no pictures
within easy access have caused more
discussion among the local artists.
Many stand before them enraptured.
while others turn aside in disgust One
enthusiastically exclaims "Fxuuisite.
beautiful" while another mutters be-
meath his breath, "Impressionism, rot!''
or course artists who have only seen
the work at Boston and are not famil-
lar with the many masterpieces which
rest in the great buildings of France.
are hardly in a position to Judge his
work as a whole, but taking it for
granted that the work in Boston is
representative, each has a right to his
own opinion.
At the loan exhibit of the Worcester
Art Society, Held in the public library
gallery, several years ago, a picture by
De Chavannes, loaned by Mrs s. D.
Warren of Boston, and entitled THE
Elder Sister" was shown 1t portrayed
an Italian girl standing by the sea,
which was arched by an intensely blue
sky. All lovers who saw it will recall
the picture distinctly. 1t was III a low
scheme of color, wholly unlike the work
in Boston, and evidently done MANY
years ago. when under the influence of
Couture, but it was full of sentiment
poetic, soulful, and the color was rich
and mellow.
The $4,000 which was paid to De
Chavannes for the decoration in the
Boston public library was the largest
co. For his decorations in the museum
OF Amiens. which are said TO be his best
works he got only $4,000 Marseilles
got two of his decorations for $4,000.
Lyons four for $4,000; Rouen three for
$4,000 For the work in the Sorbonne he
received only $1,000; for that in the PAN
theon, $4,000, and for the various dec
orations in the hotel de vile of Paris
$4,000 The decoration in the Sorbonne
is the largest work he has ever done
measuring SO feet in length anG IS in
height. The Boston decoration comes
next.
In accepting the Boston commission.
De Chayannes broke a vow made years
ago never to send his works abroad
Previous to that he had never before
painted for any foreign country, nor in
deed for any private family in France.
The difference of opinion as to De
ChaVannes' work is not local in any
sense At the time the fresco was MT
in place in Boston, the wrangliae as to
It's merit or demerit was rife. and pre.
Vlous to that, when the fresco was
shown in France, the opi~ions Of critics
We're varied. Some of these opinions
VIII be of interest at this time and they
are reproduced below.
Miss Elizabeth Gardner. now Mime
Bouguereau, well known American
aftlst, expressed herself about it in the
LolioWlilg terms: The great decoration
| Wnlch PuVls de Chavannes is to send
soon TO your Boston public library. and
which is now hung in the Chamn dc
Mars, suggests something to nv mind
mat l think it my duty to say to young
ARTISTS in America. / am sorry. for
some reasons, that this remarkable dec
Grafton is to be exhibited before the
young Americans who wish to become
great artists, as a model Of what thev
are to try to do
The works of Puvis de Chavannes
are SO harmonious as decorations. So
Tree from any exaggerations of shad-
ows that make holes in the walls Or
any vivid colors which shock the taste
that they seem to become a part of ana
to be Incorporated into the wall an
which they are placed, and on that ac
count they are charming; but as soon
as one looks at the details there is
such an utter lack of drawing and of
modelling that the work never can
serve as useful guide for students.
This carelessness on the part of a
master, whether it be affectation or
sincerity on his part, can only work
ruinlfor students. who think that be-
cause Puvis de Chavannes doesn't take
the trouble to draw, they have no need
to learn to. Here is bad example for
everybody, and, because of the great
reputation of the painter who does the
work, great harm may come from it. .
The New York World said: "It is
said by an English writer to be ex-
IRENE in its severity of design, scru-
pulous in its avoidance of tone or coll
or contrasts and in it's general frugal
ity This critic declares that mo
French painter who has attempted the
classic, the monumental in his art
has succeeded more completely in
avoiding the formulas of the grand
manner than M. sPuyis de Chavan-
mes
Then Nordeau was brought into the
ring with the expression -Puvis is
affected and insincere because his col
or in non-natural If not insineere, he
must be diseased"
In reply come various articles. The
critic Of the New York Post came to
the rescue with the following: "All
this is, of course the result of a failure
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