. Art and criticism : monographs and studies. ll ask leave myself to respect, for it is notmy intention to weary the reader with descriptions of workswhich are not before his eyes, and which he may never see. Ihave laid before him a view of the nature and theory of sculpt-ure, I have stated and briefly explained the general tendencyof modern French sculpture, and now I have only to completethese remarks by a few words on each of the eminent artistswho have been chosen, literally six out of six hundred, as beingmost worthy to represent particular manifestations of contem-porary plastic art in F
. Art and criticism : monographs and studies. ll ask leave myself to respect, for it is notmy intention to weary the reader with descriptions of workswhich are not before his eyes, and which he may never see. Ihave laid before him a view of the nature and theory of sculpt-ure, I have stated and briefly explained the general tendencyof modern French sculpture, and now I have only to completethese remarks by a few words on each of the eminent artistswho have been chosen, literally six out of six hundred, as beingmost worthy to represent particular manifestations of contem-porary plastic art in France. As sculptors, the modern Frenchartists are simply without rivals in the world, and in the historyof their own nation one can mention no epoch which has pro-duced more remarkable artists or a richer harvest of admirableworks than this present nineteenth century. Undisputed head of the present brilliant pleiad of Frenchsculptors is M. Paul Dubois, member of the Institute, Directorof the Ecole des Beaux Arts. Born in 1829, M. Paul Dubois. THE MASK, OR LA COMEDIE HUMAINE.—By M. Iirnest Christophe. MODERN FRENCH SCULPTURE. 243 studied first of all for the legal profession, and did not enter asculptors studio until he was twenty-six years of age. From1859 to 1862 he studied at Naples, Rome, and Florence, wherehe became an enthusiastic admirer of the artists of the fifteenthcentury. Under the influence of their work he conceived hisstatues of St. John (1864) and of the Florentine Singer(1865), which made him at once famous and popular. Twentyyears ago France had almost forgotten the very existence ofthe primitives. M. Duboiss St. John, if the allusion maybe permitted, was a forerunner in sculpture. By his inspiredmovement, by the prophetic ardor of his gesture, by his delicateboyish head, with fixed eyes and speaking lips, he carried withhim all the young French sculptors, and led them to Florence,where they proclaimed Donatello to be the honored ancestor ofmodern plastic nat
Size: 1099px × 2273px
Photo credit: © The Reading Room / Alamy / Afripics
License: Licensed
Model Released: No
Keywords: ., bo, bookcentury1800, bookpublisherharper, booksubjectartcriticism
