Brooklyn Museum Quarterly . thcoming exhibition of Wild Life in Art at the Brook-lyn Museum. The proud bird, sovereign of the barnyard,is depicted in the first panel announcing the rising of thesun and shouting defiance at his enemy; then the combat,the flight of the defeated opponent, and, finally, the peace-ful morning meal, with an occasional glance around for theapproach of possible danger. Were these panels inspiredfrom Chantecler, Rostands well-known play? Perhaps,for Caro-Delvaille, who comes from the same part of Franceas the late dramatist, -svas for many years his intimate
Brooklyn Museum Quarterly . thcoming exhibition of Wild Life in Art at the Brook-lyn Museum. The proud bird, sovereign of the barnyard,is depicted in the first panel announcing the rising of thesun and shouting defiance at his enemy; then the combat,the flight of the defeated opponent, and, finally, the peace-ful morning meal, with an occasional glance around for theapproach of possible danger. Were these panels inspiredfrom Chantecler, Rostands well-known play? Perhaps,for Caro-Delvaille, who comes from the same part of Franceas the late dramatist, -svas for many years his intimate Rostands villa, at Cambo, he decorated the dining roomand also painted a portrait of Rosemonde Gerard, the ex-quisite poet, Rostands wife. The great decorative quality of his art has brought Caro-Delvaille a number of opportimities to express it in the pub-lic buildings of France. The Chambre de Commerce ofBayonne, his native town, shows wonderful panels by him;the City Hall of I^^ille had also great decorations from his 79. CHALLENGE FIGHT brush. But the Hun, in his frenzy of destruction, hasbuined both building and contents and nothing is left inLille to commemorate the decorative masterpieces of Caro-Delvaille. Concerning decorative painting Caro-Delvaille has re-cently written the following: In taking up this subject for discussion we must pausea moment to define the spirit that should inspire and impelit. This spirit is utterly different from that of so-calledeasel-painting, which seems for more than a century tohave devoted itself mainly to picturesque scenes or directimpressions from nature. The form of artistic endeavor ofsuch easel-work might be compared to the contemporarynovel in literature, or, in its inferior manifestations as thework of ephemeral artists, to journalism. On the otherhand decorative painting would find its equivalent in the fieldof philosophic speculation w^hich. far from confining itselfto the objective life of the present, derives therefrom purepr
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Keywords: ., bookcentury1900, bookdecade1910, bookidbrooklynmuseumqu46broouof
