The Worcester spy. [volume] (Worcester, Mass.) 1898-1904, 1898-10-30


gundian family. Ill health prevented
him from following his fathers desire
that he should adopt his own profession
Of engineer, and, after the death of his
parents, he turned his attention to
painting. But it was years before he
found himself as an artist, and the
master was well along in middle life
before he succeeded in giving adequate
expression to his artistic impulses and
obtained from the world the recognition
belonging to him. He had little direct
and tutelary guidance on his road to
eminence. 1t is true that no man ever
finds a way on such a journey unaided;
but 1T was solely his own natural re-
ceptiveness that enabled him to heed
the voices of the, countless great ones
of the world whose inspiration helped
him onward.
Three men only have ever borne any
thing in the relation of teacher to him
The first of these was Henry Scheffer,
brother of the celebrated AIRY Scheffer.
He entered the studio of that painter
for brief period in consequence of the
influence of a journey to Italy, which
was the first definite cause Of directing
his attention to art. He very soon re-
turned to Italy, making the second visit
in 1S48 in company with painter,
Bauderon de Nermeron, of whose in
from the year spent with him that his
artistic life really dated. Returning to
Paris, Puvis was in the studio of De-
lacroiX, after which he studied with
Couture for three months. The influence
of this latter artist was apparent for a
time in his work, noticeably so in the
picture shown in this city at the time
of the art loan exhibit.
De Chavannes' first salon picture
was shown in 1850. But this success
was short-lived, for between 1852 and
1859 his works We're regularly rejected,
The pictures of this period he de-
scribes as having been "out and out
romantic" and the future decorator
was yet in embryo. Success came in
1861 when peace" and WAR" two
decorative panels. We're shown at the
universal exhibition in the Palais de
PIndustrie and awarded a second class
medal In thirty-six years work, pre-
vious to the Boston commission, De
Chayannes earned but 302 900 francs,
less than $7S40 but his career was by
no means Swallowed by the struggle
with poverty. He was blessed with an
independent fortune which permitted
him to pursue his way as he might
choose, without thought of monetary
returns in connection with his art His
habits were simple, and his personal
appearance imposing. He cared little
for social honor.
His method of work was to begin his
decorations by making a small sketch
as he conceived it, and then to make
studies of the figures one by one. Oc-
casionally, to indicate the movement
of a figure, he made a small clay mod
ell. After drawing the figures in their
definite dimensions upon paper in
charcoal or red chalk, he transferred
them to canvas and started his paint
ing. He has received many honors
and few modern artists will leave as
much behind that will endure as will
his works.
Turner had a singular way of-hnish-
ing his pictures after they We're hung
in the academy. When placed in posi-
ton. they would be almost bare of color
and detail, what there was of the latter
being indicated in faint gray upon
graduated background leading to a
white spot intended for the sun. These
ghostlike effects were only the ground
work upon which Turner worked from
in the morning till dark during the
week of vanishing days. He divided
his work among several pictures as the
fancy struck him. He painted standing
and did not use palette, preferring to
mix his colors in cups. He cared not
for permanence, only for present effects,
and would use colors that fade or mix
them viii state DSei, Il IOlulHS else
was handy.
The price of Rembrants continues to
rise steadily from year to year. For
gers and touchers-up are taking advan-
tage of this and attempting to impose
works as his that slightly suggest his
mannerism. This situation of affairs
has made it necessary for an old pic
ture to have a. pretty straight history
to be of any great value. Old pictures
discovered in attics and barns with in
distinct dates and signatures, do not
sell as readily and for such prices as
they did some years ago. This-forging
has also shown itself somewhat in the
works Of the modern artists, but to no
great extent, owing to the manner in
which the artists follow UP their work.
London correspondent has found
that it was to an American that Fred
erick Leighton owed his occupation and
his art. Powers, the Vermont sculp-
tor, started him on his career as a
painter. Leighton is alleged to have
felt a kindness for Americans all his
life.
II didn't know until yesterday that
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