New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1906-02-04


LES cARIcATTREs DE Prrv1s DE CHA
NANNkS Preface de Marcele Adam Ouarto
PIP XIV 40 paris: Iibrairie Oh. Delagrave)
Either Of these books would by itself be well
come, but taken together they form a peculiarlv
Interesting introduction to the character and
work OF the famous French painter Puyis de
chaVannes was old master born out of his
lime Like his contemporary in England the
late G. f. Watts. he had an instructive leaning
toward the grand style; and. again like Watts
he felt little sympathy for those ideas OF tech
houe which have predominated in the last thirty
or forty years. Where he Offered from the Eng
AshInan Was in establishing a surer balance be-
tween The substance and the form Of his art To
the modern eye. accustomed to the complexi-
ties the audacities and the vibrations Of light
and color in latter-day painting. there must al
ways something naive about the great
decorative compositions Of Puvis de Chavannes.
something more suggestive Of emulation of the
Italian PrimitiYes than OF a powerful and orig
tnal force. The naIvete is there, but il happens
10 be essential ingredient OF the painters
nature. The masses OF cool. reposcful tone
which are so conspicuous in his work. the
sve, noble forms and the stately yet simple ele-
rsents OF design, We're the spontaneous products
OF his genius If he failed to equal the old
masters. he at any rate shared their spirit, and
did something TO revive their charm.
He revived il along heroic, majestic lines. and
the student could not find in modern art finer.
more imaginative stimulus than is TO be derived
from his paintings. The first Of the books be-
fore Us is one Of those admirable collections Of
reproductions published by Newnes, in London.
i contains sixty-fOur full page plates In half
tone and a frontispiece in photogravure. II
forms kind Of gallery in little, and, since the
work Of reproduction has been well done, the
student may get from this book very clear
idea OF what the art Of Puvis de Chavaunes
means in everything save color. That is missed
enormously, fer the painters suaYe grays and
greens and blues sprang from the very centre or
his inspiration They affect the beholder like
strains OF solemn music. they have a serenity
and an elevation which reflect the very highest
qualities Of emotion. The Introductory essay,
written by n. Alexandra. is valuable for the
account il gives Of the artists career, but even
more acceptable are the glinpses it gives Us Of
his personality and mind We have, for exam
Die. .hese fragments Of his talk or correspond
euce:
Lave nothing to chance Put in boldly your cen
tr.l hsure and Eolr BACKGROUND. 10 not let II
requires. Afte-yVard You may add the ornament
v1-I are rsintfn- picture Of a certain craft peo
Ile mat trade must De- able 10 EecoSize ihtli-
selves IN the slightest action Indeed nothing IS
Enqr, likely 10 introduce 4 good eject IMAM De.iiS
SIn1licity means an untrarnmeIIed idea. The
simplest conception viii be found TO be the most
Pointing is not merely an imitation Of reality,
llt a parallel with nature
one must Try paint oi jeCts taken from real
life But they must have a general application
L j. necessary 70 cut away from nature every
thing thar Is ineffective and accidental every thlng
tha- FOR The moment is without force. Art com
rIares what Nature roughly sketches HOW does
one succeed when helping nature IN her eIofts
toward Sretch2 Isy Authorization and sirnpIhcallpI
u, careful express the important facts ana
leave the rest This is the secret OF compost
ton Of 6esign, and even Of eloquence and wit
n Alexandra paints his old friend in his stu
do. a grave and melancholy figure, kind hearted,
but ready enough TO discourage the wrong Nis-
tto- He would 90 himself to answer the door
bell AT glance he could recognize the new
conner. II doubtful, or dspleasing. the artist
would shut the dOor in his face with a brief
word and a quiet fTI.aess." He had, we are
ted the air Of a statesman. but there was moth
ing il the least pompOus about his demeanor
-I5e loved 10 sing at fun strength while at
work saws NJ. Alexandra That touch serves
somewhat 10 tighten the critics portrait Of the
FAINTER but IN the main. he shows US an in
ter.sely serious and, in fact, sad parsonage. II
IS for this reason that We are glad 10 associate
the two books mentioned at the head Of these
remarks
III her preface 10 les Caricatures de PuVis de
Chayannes," Nine Adam confirms the i'm
r,-,-ssiou which the drawings Of which the book
is made enforce clearly enough the impression
,.,at .hsc dreamer Of sublime dreams also 2