. Art and criticism : monographs and studies. hen, holding his chin between his thumb and forefinger, he would standand look at it, first fromone point of view and thenfrom another; sometimes hewould break off a bit ofclay and remodel some de-tail ; other times he wouldnot touch it, but tellino- theapprentice to cover it upagain, he would return tohis studio, and go on withsome less noblework. Buton this group, which is oneof his masterpieces, and trulya work which will bear com-parison with the best mon-uments of ancient art, Baryenever toiled as at a task, butwaited until the happy mo-ment c
. Art and criticism : monographs and studies. hen, holding his chin between his thumb and forefinger, he would standand look at it, first fromone point of view and thenfrom another; sometimes hewould break off a bit ofclay and remodel some de-tail ; other times he wouldnot touch it, but tellino- theapprentice to cover it upagain, he would return tohis studio, and go on withsome less noblework. Buton this group, which is oneof his masterpieces, and trulya work which will bear com-parison with the best mon-uments of ancient art, Baryenever toiled as at a task, butwaited until the happy mo-ment came — that momentof bicn-etre which to imagi-native men is a moment ofinvention. The details and processesof casting his works preoccu-pied Barye greatly, and as his business was not extensiveenough to justify him in having a foundery attached to his stu-dio, he was obliged to have recourse to professional founders,who have all retained a lively remembrance of his exacting crit-icism. Barye insisted upon having a particular alloy, which is. STANDING by Louis Faber. ANTOINK LOUIS BARYE. 199 still known in the Paris founderies as bronze Barye, and iscomposed of virgin copper and pure tin. He wanted the un-touched rough casting to be perfection. Whenever a badlot of castings came in from the foundery, said one of Baryesworkmen to me, it made him ill, and he would not be seenagain in the shop for a week. His great desire was always toget absolutely faithful reproductions of his models — reproduc-tions which would not need the treacherous finishing touchesof the chisel. Hence various essays of galvano-plastic proc-esses, and above all, many trials of the difficult, hazardous, andcostly process of cire perdue. Baryes thoughts were concentrated rather on his art thanon the making of his fortune. He neither sought orders nordid he take any particular pains to sell his bronzes for the verymoderately remunerative prices which he asked. As we haveseen, the influence of t
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Keywords: ., bo, bookcentury1800, bookpublisherharper, booksubjectartcriticism
