New-York tribune., 1903-07-27
! NOVEL THEATRE CEILING.
Am ImpreSsiomist Painting for The
atre Francois by Besndrd.
Paris, July 10.

A now enoch has been marked in French art
bv the order given by the government to Albert
Besnard for the decoration Of the cellng Oh tue
Coincide Francaise as restored since the nre'
Hitherto, only the artists who followed strlcty
classical lines such as Benjamin Constant Jean
Paul Iaurens or Luc Olivier Merson had been
able TO obtain official orders for decorations.
But now for the first time recognizing the MOD
ern impressionistic school in the person of its
thoroughly original leader. Besnard, the French
State has made departure from its traditions
destined to have far reaching effects
On the day after the fire. which left little but
the outside walls OF the Theatre Francais stand
ing NJ Besnard sent to the Minister Of Fine
Arts a project for decorative ceiling which he
had long had in mind without finding space for
it's application. Jules Claretie, administrators OF
the Comedie Francaise. and Roujon. director or
Fine Arts at the Louvre, approved Besnard S
idea. which was a composition representing the
triumph Of French poetry. and they strongly
urged the minister to decide in his favor After
seeing the first sketch. NJ Chaumie felt no hes-
tation, and. radical as was the revolution which
he making in the official world of French
art, he gave the order to Besnard.
The scheme for the work is described by Bes-
nard himself follows:
The principal subject in the Triumph of
French Poetry" represents Apollo flooding with
his light the statues of our four great poets
Corneile. Racine, Moliere and Victor Hugo.
Around the chariot of the sun turn the Hours,
while the MUSES. alight on the stairs near the
statues. which they crown with laurels.
In the foreground, above the stage 1 have
placed Time, crouching down near the hgure or
Truth, which he touches to show that nothing
is lasting unless it rests upon Truth. The fig
ures will all appear life sized. for do not like
the colossal which destroys the harmony Of
proportions. The group OF the Hours Will be
painted in a scale of tumultuous tones, daring
in effect.
Departing from the usual methods in such
cases, Besnard intends to paint the ceiling not
on the spot. but quietly in his studio. He
says:
shall use great sections of canvas, which
will be applied to the ceiling, following ali its
curves, and all that need do at the theatre will
be to join the pieces carefully together. To
Judge of the tout ensemble before getting down
to work l am now arranging in the top of my
studio an apparatus which will allow me to see
1t all in a mirror. 1 shall begin by painting 1t in
grisaille, and soon my figures are sketched
in I shall thus obtain the effects of harmonies
and values by the contrasts of black and white.
7 always do this with my figures; I consider
this preparatory work very useful for the en-
semble.
Large as is the space to be covered-over two
hundred square yards-Besnard has decided to
do every stroke Of the work himself. without the
assistance of pupils although it will require
three years of unceasing labor.
I'm the last few years decorative painting has
become too important a matter to be trtfed
with" he declares Benjamin Constant and
Jean Paul Laurens sought to make enduring
work in painting the ceilings of the Opera
Comique and the Odeon; it is my ambition to
do the same with the ceiling of the Comedie
Francaise, which gives me an opportunity for
fulfilling my ideas OF great decoration"
C. L &