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Send copies for binding carefully wrapped, and mark the package outside with the full name and address of the sender. The bound volume will be returned express paid. BATES i0 foe Cijaiwmtcs M \HTKItH I V N IJT 1*1. \ I f : I • . Kit M A N I III 1*1(1- :|i|i PI N is m-: i 1 1 \ \ I < II I I. Mil II ill «i| MT iim. i; i; \ kv i kv i:s I* \ \ I II ki i N . \ \ n km . i . i . \ i ;\ 1 1 \ i lin. il i \ III \i. • I VI It A I. I • A \ I I.] I 1 \ III PUVJS DK CHAVANJSJEJ: MASTEKS IX A ICT 1*1. A l l: IV mnv t co»i « ' N>iir CUHriA A r. AM-'OI, [ tun J pr VIS III: • ll W \ \ M S II IS I Dll Y 60»*Ii(JhT III »s II » \ 1*1 1 1 1 . 1 « I I lilt A It % l-E OF THE SOBBONNK m CIl KISTIA N INSPI RATION PUVIS DE CHAVANNES h THE POOH FISHERMAN PORTRAIT OF PU^IS DE CHAYANNES FROM A PHOTOGRAPH Puvis de Chavannes twice painted his own portrait, once as a young man, and once, toward the close of his life, for the collection of portraits of the Florence Uffizi. He was also painted at full-length by his friend Leon Bonnat ; and the sculptor Rodin made a bust of him • but none of these likenesses seemed to his friends as characteristic as his photographs ; and a photograph has accordingly been selected for reproduction here. His appearance is described in the biographical sketch which follows. [ 400 ] MASTERS IN ART ^terre*Cectle tr t BORN 1824: DIED 1898 FRENCH SCHOOL P IERRE-CECILE PUVIS DE CHAVANNES (pronounced Pil-vees de Sha-van), son of an old Burgundian family which took pride in tracing its history back to the year 1152, was born at Lyons, where his father was a mining engineer, on the fourteenth of December, 1 824. The boy was educated at the college of Lyons, and at the Lycee Henri vi. in Paris; and it was planned that he should follow his father’s profession. He was accordingly preparing to enter the Polytechnic School when a serious illness interrupted his studies, and, as a measure of recovery, he made a journey into Italy. Although this was purely a youthful pleasure-trip, the sight of the Italian works of art opened a new horizon to his imagination. On his return to France he declared his wish to become a painter; and at the age of twenty entered the studio of Henri Scheffer in Paris. Here he profited little, however, working without real interest; and soon discouraged, he discontinued his studies and made a second journey to Italy, this time accompanied by a comrade, Beauderon de Vermeron, an enthusias- tic artist. During this year of travel Puvis de Chavannes studied much, ad- miring especially, according to his own statement, the works of Titian, Tin- toretto, and, above all, of Paul Veronese. He moreover felt his previous decision to take up art as a profession confirmed; and on his return to Paris, entered the studio of Eugene Delacroix. His stay there was, however, brief. Delacroix’s vogue as a teacher had already waned; his pupils were one by one slipping away; and just fifteen days after Puvis de Chavannes entered the studio the master himself closed the doors of his atelier. The vagrant young art-student next chose Couture as his instructor; but remained under him only three months, for he found himself out of sympathy with Couture’s methods. One of his former com- rades has described the incident which led to his quitting the studio. One overcast morning Puvis de Chavannes was doing his best to render the silvery harmonies of the model’s flesh in the gray light, when Couture, on his round of criticism, stopped before the canvas, grumbled, frowned, and taking his [4011 24 MASTERS IN ART pupil’s palette mixed a tone for the lights according to his own stereotyped formula — white, Naples yellow, vermilion, and cobalt — and with a few touches altered the entire color-scheme of the study. “What, Monsieur Couture,” cried Puvis de Chavannes, in amazement, “is that the way you really see the model?” and after that day’s session he never returned to the atelier. Alter leaving Couture, Puvis de Chavannes apparently abandoned all idea of educating himself in the usual fashion under a master; and in 1852 in- stalled himsell in that studio in the Place Pigalle which he quitted only in 1897, and began that long, uneventful career of daily toil which was to con- tinue till his death. He organized a group of friends who, like himself, were desirous of painting from the living model, into a sort of communal acad- emy, and for a few years these young men, bound together by warm friend- ships, taught each other the technique of painting by mutual criticism and the long discussions about art which followed each day’s work. Meantime he had succeeded in having one picture, a ‘Pieta,’ accepted at the Salon of 1850; but for nine years thereafter his pictures were invariably refused. In no wise discouraged by these repeated rebuffs, however, or shaken in his faith in himself or his ideals, Puvis de Chavannes sent the rejected can- vases to the private exhibitions organized in the Galeries Bonne-Nouvelle in 1852 and the two following years. The public went to these exhibitions, but only to laugh at his pictures. A few far-sighted critics, Theophile Gautier among them, defended and encouraged the indomitable young artist; but for the most part he was attacked or ridiculed on every side. He painted away, nevertheless, producing easel-pictures of many different types, in which were reflected, in somewhat exaggerated and incoherent fashion, the influences of the masters whose works he had studied at the Louvre and in Italy. It was not till 1859, when he was thirty-five years old, that he succeeded in again gaining admittance to the Salon. Five years previously his brother had built a country house in which the blank panels of the dining-room “tempted him,” as he expressed it; and, for his own amusement, he painted for these spaces the inevitable four seasons, together with a large central composition. “One of these subjects,” he says, “I repainted on a larger scale for the Salon of 1859, calling it ‘Return from Hunting.’ It was accepted; and so delighted was I that I presented the picture to the Museum of Marseilles; and it oc- curred to me that something might be done in this mural style of painting.” As a result, the two pictures, ‘Peace’ and ‘War,’ which Puvis de Chavannes submitted to the Salon jury of 1861, though intended for no particular building since he had no commissions, were distinctly mural in character. They were accepted; his work for the first time was seriously discussed by the critics; he was awarded a medal of the second class, and the government purchased ‘Peace.’ Not wishing to see the companion panels separated however, the painter presented the authorities with ‘War.’ These two pictures are impor- tant in the career of Puvis de Chavannes, for they not only mark the turning of his attention almost exclusively henceforward to mural work, but give evi- dence that he had already fixed upon that ideal of decorative painting which he continued to develop during the remainder of his life. [ 402 ] PUVIS DE CHAVANNES 25 Taking advantage of the prominence into which the purchase of his ‘Peace’ by the state had brought his works, he exhibited in 1863 two similar com- panion panels, entitled ‘Work’ and ‘Rest.’ These were widely praised, but there was no offer to purchase them, and they were returned to the painter’s studio. It seemed merely a happy chance which enabled him to realize his dream of seeing these compositions utilized as he had intended them to be, and brought about a general recognition of his preeminence as a mural painter. The city of Amiens, conjointly with the Society of Antiquaries of Picardy, happened at this time to be building a museum; and one day the architect, Diet, presented himself at Puvis de Chavannes’ studio. “I saw your pictures ‘Peace’ and ‘War’ in the Salon of 186 1,” he said, “and was much impressed by them. If you have not yet sold them, I think I can place them for you in the new Musee de Picardie, where there are large wall spaces to cover. What has become of them?” The painter answered that they belonged to the state, but that the authorities had not yet made any disposition of them. “Good,” replied Diet, “I will immediately see to it that the city of Amiens applies to have them given to the museum.” The request was granted; and when the pictures were set in place their splendid mural effectiveness was immediately apparent. Delighted at this unexpected stroke of fortune, the painter offered to complete the decoration at his own cost, and presented the museum with four subsidiary panels. Not long after, Diet returned to Puvis de Chavannes’ studio to say that two more mural paintings were now needed to adorn the main staircase of the museum. “Have you, by good luck,” he asked, “as you had before, something that will serve my purpose?” For answer the painter unearthed from a corner two immense rolls of canvas. “Have I what you want!” he exclaimed. “Here they are — my two pictures of last year’s Salon, ‘Work’ and ‘Rest.’ They are of the same dimensions as ‘War’ and ‘Peace,’ and were executed to accompany them. If they suit you I shall be delighted.” As the city of Amiens had not at the time available funds for the purchase of these works, the painter presented them to the museum; but so effective did they prove when in place that the administration at once ordered a new composition for the same building. This, under the title of ‘Ave Picardia Nutrix,’ was exhibited at the Salon of 1865. It produced a marked and wide- spread sensation; and from this time on Puvis de Chavannes’ position as a mural decorator was assured. Henceforth his life was devoted to fulfilling commissions to decorate impor- tant municipal buildings, every successive work bringing him fuller appreci- ation and increased fame. In 1868 he painted ‘Marseilles, Gate of the East,’ and in 1 869 ‘Marseilles, Greek Colony,’ for the Palais de Longchamp at Marseilles; in 1872 ‘St. Radegunda at the Convent of Sainte-Croix,’ and in 1874 ‘Charles Martel, Conqueror of the Saracens,’ for the Poitiers Hotel de Yille. In 187 7 he finished two pictures which illustrate the childhood of St. Genevieve for the Paris Pantheon; in 1882 he exhibited the ‘Ludus pro Pa- tria,’ which completed his work in Amiens and gained him the medal of honor. [ 4 o :t ] 26 MASTERS IN ART Between 1884 and 1887 he painted, to decorate the Palais des Arts of his native city, Lyons, ‘The Sacred Grove,’ ‘Antique Vision,’ and ‘Christian In- spiration.’ In 1 889 he finished for the new lecture-hall of the Paris Sorbonne the allegory of the ‘Letters, Sciences, and Arts’ (usually known as the ‘Sor- bonne Hemicycle’), which perhaps ranks as, upon the whole, his greatest achievement- and in honor of it he was made Commander of the Legion of Honor. In 1890, at the time of the schism in the old Salon, Puvis de Chavannes followed Meissonier in his withdrawal, and with him founded the Societe Nationale des Beaux-Arts, known as the New Salon, which then began its annual exhibitions in the Champ-de-Mars. After Meissonier’s death, in 1891, he became president of this society, and held the office till his death. For the Museum of Rouen Puvis de Chavannes next painted, between 1890 and 1892, three compositions, ‘Inter Artes et Naturam,’ ‘Pottery,’ and ‘Ceramics’; and between 1889 and 1893 he completed for the reception- hall of the Paris Hotel de Ville two large canvases representing ‘Winter’ and ‘Summer,’ and a large ceiling painting, ‘Victor Hugo Offering his Lyre to the City of Paris.’ By this time the great qualities of his work had come to be widely ap- preciated, and the apogee of his fame was marked on the sixteenth of Jan- uary, 1895, the beginning of his seventy-first year, by a great public banquet given to him in Paris. At this banquet there were present nearly five hun- dred of the most eminent men in France — painters, litterateurs, critics, and public officials — who joined in paying enthusiastic tribute to the genius of one who was now everywhere acclaimed as the world’s greatest living mural painter. In 1891 the trustees of the Boston Public Library, Boston, Massachu- setts, requested Puvis de Chavannes to decorate the monumental staircase of that building, and offered him 200,000 francs (by far the largest price he had ever received) for the work, which was to comprise one large paint- ing and eight smaller panels. The negotiations hung fire for some time, how- ever; and in his letters Puvis de Chavannes makes frequent references to the matter. In one he writes: “As to the pictures for Boston, we are still discussing, and I am afraid that the whole matter will fall through. More- over the work does not tempt me, for I thirst for rest.” He finally accepted the commission, nevertheless, and the pictures, begun in 1895, were finished in 1897. Meantime, in 1896, the Administration of Fine Arts in Paris had or- dered two further works for the Pantheon, which, under the general title of ‘The Old Age of St. Genevieve,’ were to show ‘St. Genevieve Provisioning Besieged Paris ’and ‘St. Genevieve Watching over Sleeping Paris,’ supplement- ing those representing the ‘Childhood of St. Genevieve ’ painted nearly twenty years earlier. Before he had finished these works, however, Puvis de Chavannes was striken by the approach of his last illness; but with characteristic deter- mination he continued to labor on them up to the last moment when his hand could hold a brush; and they were practically completed at his death. [ 404 ] PUVIS DE CHAVANNES 27 In person Puvis de Chavannes was tall and of robust figure, his head well set on broad shoulders, his complexion rich in color, his eyes clear, his nose strong, his wavy beard lightly shadowing delicate lips above a vigorous chin. His private life was unusually uneventful, for immediately after leaving Couture’s atelier he had begun that daily round of intense and isolated labor which left him little time for outside activities. He had two studios, the one already mentioned in the Place Pigalle, which his apartments adjoined, and here he used to plan out and make the sketches for his compositions. The other was an immense, bare hall, plainly built of wood, situated in the middle of the park of Neuilly, where in seclusion he did the actual work on his im- mense canvases. His friends and familiars were admitted to the Place Pigalle studio up to nine o’clock in the morning; but they were then politely but in- flexibly sent awav, and the painter began his day’s work here, or left on foot for the Neuilly atelier, some three and a half miles distant. He demanded absolute liberty as to the conception of his pictures, refusing several commissions which he would otherwise have been glad to undertake because the subject imposed was not to his taste; and he would permit no criticism or interference with his work in progress, indeed not even allow- ing it to be inspected, for he felt that the first condition of success in art was that the artist should be wholly himself. He was enabled to maintain this independent attitude, as it had been pos- sible for him to go on striving towards what was then an unpopular ideal dur- ing all the years when his pictures were the laughing-stock of criticism, only because of the income from a patrimony. Indeed, he often took pleasure in relating how when a lad at school he had once exchanged a rude drawing with a fellow pupil for a bit of bread; adding, “It was one of the rare occa- sions in my life when my art nourished me.” The apparent imperturbability with which he received the attacks of the critics during his early years, joined to his natural self-sufficiency and phil- osophical calmness of demeanor, led those who did not know him to consider him thick-skinned and unimpressionable. On the contrary, few artists have been so sensitive, either to praise or blame. He broke oft all relations with his former close friend, Edmond About, because of what he considered About’s traitorous criticism of his work; and his biographer and warm ad- mirer, Vachon, tells how on one occasion the painter proposed that all rela- tions between them should cease, since Vachon had said that he preferred the decorations at Amiens to those of the Pantheon, which Puvis de Chavannes considered a reflection upon his progress. Vachon also relates that once while showing some ladies, with the greatest apparent politeness, one of the com- positions in his studio, their silly comments, to which he could not reply, threw Puvis de Chavannes into such an inward rage that he drove his nails into the palms of his hands until they bled. He was wont to say, “When I exhibit a picture I seem to be setting myself up naked before all the world.” He was thoroughly bound up in his work, and took but luke-warm interest in anything which did not relate to it. “It may be said of him quite justly,” writes his biographer, “that his egoism was superb;” and it was quite seri- [ 405 ] 28 MASTERS IN ART ously that he replied to the indiscreet reporter who asked him what painter he preferred, by a laconic “myself.” In spite of his isolated habits of labor, Puvis de Chavannes was, however, no recluse, and cared for solitude only in his studio. He delighted in all the pleasures of life, and was particularly fond of those of the table. Although from the beginning of his career he had accustomed himself to eat but once a day, at seven o’clock in the evening, breakfasting at midday in his studio merely upon a cup of tea and a bit of bread without interrupting his work, his dinner, usually taken in company with pupils or friends at some public restaurant, was an affair of importance, and a highly jovial occasion. The greatest personal influence in his life was undoubtedly that of the woman who ultimately became his wife, the Princess Marie Cantacuzene. He first met her in his thirtieth year, and from this time on he loved her “as,” says his biographer, “Michelangelo might have loved Vittoria Colonna.” She, on her part, attached herself to the young painter with all the tender- ness and devotion which a friendship based upon high esteem and mutual confidence could inspire; and he was wont to say that he owed everything to her — everything that he was and everything that he had accomplished. She soon became the confidant of his ideals and work; and from her and from her alone would he accept, without discussion, council and criticism. During the preparation of a picture she was accustomed to sit reading or working in a corner of the studio, and when he had sketched out a personage or ar- ranged a group, he would ask her opinion of it. Her response put an end to all his hesitations and perplexities on that point. She often sat for figures for which professional models could not pose as the master desired ; and in his Pantheon picture of ‘St. Genevieve Watching over Sleeping Paris’ Puvis de Chavannes has reproduced her likeness in the austere and nunlike figure and grave, sweet beauty of the saint’s face. Two years before his death Puvis de Chavannes fell gravely, it was feared fatally, ill. He was devotedly nursed by the Princess Cantacuzene; and when, in 1897, he became convalescent, they were married. She herself was, how- ever, in precarious health at the time; and when, a year afterwards, in Au- gust, 1 898. she died, life seemed to hold no further aim for him and it became evident that he would not long survive her. He died but two months later, on the twenty-fourth of October, 1898. — based on the life of puvis de CHAVANNES BY MARIUS VACHON Cl)t art of $u\)ts hr Cljatmtinrci ROBERT DE LA SIZERANNE ‘REVUE DES DEUX MONDES’ 1898 S INCE that day in 1854 when he invaded his brother’s dining-room that he mi^ht find a place for those decorative figures which would not have been welcomed in any other house in France, up to the time when he died [406] PUVIS DE CHAVANNES 29 the most famous mural painter in the world, Puvis de Chavannes’ ideal re- mained the same. For forty years he persistently pursued this ideal, seeking ever more and more for the serene, decorative line, dignified gesture, im- mobile attitude, clear, calm, lovely color; painting anecdote less and less; making his landscapes ever more and more simple, his figures more and more abstractions, his symbolism higher and finer. Without attention to the clamor about him he walked straight forward like a somnambulist, allured by a light which he alone could see, but which he to-day has brought a whole nation to see. Puvis de Chavannes has too recently laid down his brush to make it pos- sible for us to decide how posterity will judge his work. The failings in it will soon enough be brought to light by his imitators — for like Michelangelo he might have exclaimed, “How many painters will my work shipwreck!” — while the best qualities of his achievement were personal and intransmis- sible. Even at this close range, however, we may discern one lack in his equipment. He never completely realized beauty of form for its own sake. His drawing is full of little errors. Even where most correct it has no se- curity; even where most exact, no freedom. Not one of his foreshorten- ings is beautiful, some of them are even preposterous, and certain of his fig- ures, that of the child in ‘The Poor Fisherman,’ for an example, cannot be defended on any pretext. The construction of his personages is almost always uncertain ; their necks are often attached so far forward as to throw the head out like that of a humpback; their arms, overlong from shoulder to elbow, are singularly detached from the torso; — indeed, we feel like putting little points of interrogation as to the drawing all over his pictures. To reply that this weakness was actually of service to him by leading him to substitute more effective qualities may be true; but to deny, as his followers have done, that it was a weakness seems futile. “What appear to be errors in drawing,” they repeat, “are mere simplifications. Tracing upon a vast canvas, intended to be seen from a distance, decorative figures meant to express very general ideas, he wished to draw only what was absolutely necessary, only the most general indication.” Unquestionably a proper principle, this nevertheless hardly seems to excuse errors in design. Simplify all movement, all model- ing, all attitude to the uttermost, the resulting abstract should, nevertheless, be a true abstract, not a false one. One line may be sufficient to indicate a shoulder-blade, but this line should be exactly where the shoulder-blade ends, not elsewhere; the drawing of an arm may be reduced to two lines, but these two lines should be of rigorously correct proportions. If the theory of simplification were, moreover, to account for Puvis de Chavannes’ errors in drawing, we should logically find those errors greatest where he had sim- plified most; but exactly the contrary is the case: his errors are greatest where he goes into most detail. The arm of the woman with the basket in ‘Autumn’ might, for example, be much less muscled, less anatomized, less curved than it is, and yet be far more correct in drawing. We cannot ad- mit that had Puvis de Chavannes’ sense of form been (it a higher order his work need thereby have been inany wise diminished in effect, though such is the [ 407 1 30 MASTERS IN ART conclusion to which some of his over-fervent admirers would lead us. If the portico of ‘The Sacred Grove’ had been better constructed, the cloister in ‘Christian Inspiration’ set in better perspective, the figures in the ‘Antique Vision ’ have had the height which belonged to their respective planes, wherein would the beauty of the whole have been lessened? We have insisted upon Puvis de Chavannes’ one salient weakness more than its importance in his work perhaps deserves, in protest against that hasty generalization which would transfigure the defects of any great man into mer- its. But, on the other hand, in grasp of the principles of mural decorative art, in composition, and in color, we may pronounce him without reserve or hes- itation a master. He was the first painter of modern days to understand how carefully true decorative art must accommodate itself to the conditions of light, tonality, and surroundings of the space to be decorated, and that between the essen- tials of wall-painting and of easel-painting there are fundamental and insuper- able differences. Year by year we see him coming to acknowledge these dif- ferences more clearly. He early recognized that it was necessary to banish from a wall all realism, all attempt to convince the eye that the painted thing was real; and he soon came to class with this, as another form of deception to be avoided, all violent effects of light and shade which deceive the eye as to the flatness and solidity of that wall. Therefore he grew to avoid complex and huddled groups of figures, since such figures could not be relieved against one another without strong shadows, and relief against relief must necessarily produce salience of effect, and spaced his figures more and more widely, set- ting them separately in empty spaces, or arranging them in parallel planes which do not intersect, but sweep straight from one side of the picture to the other. Indeed, this trick of composing in a series of well-marked parallel planes, each of which is maintained at its own depth throughout the canvas, is one of the most marked characteristics of his work. Hesitating in his first pictures, we see the method adhered to more closely in each successive com- position, and finally affirmed in the ‘Ludus pro Patria’ and in the Sorbonne Hemicycle. He perceived, too, that in mural paintings, which must be long at a time before the spectator during public ceremonials or during the daily business of those who frequent the buildings they adorn, there should be no restless gesticulations, no unstable equilibriums, no rapid movements, but the aim should be instead to offer a quiet refuge to the eye. And much of this re- poseful effect he obtains by his use of landscapes. He first of all produces the idea of symmetry and order in them by alinements of similar tree trunks of the same diameter; his groves are regularly and discreetly ornamental. Next, they always convey a sense of pleasant ease and leisure. I hey are of the soft greensward, or placid sea, or shady boscage, or fertile plain ; he shows us no rebellious nature. Like the Preraphaelite landscapists, he suppressed the sky as much as possible, but did so by raising the horizon line — a modern proceeding. An- other curious mixture in his methods is that his backgrounds are modern — [ 4081 PUVIS DE CHAVANNES 31 vague, hazy, almost impressionistic — while his foregrounds are primitive, with the littlest flowers or each leaf of a shrub delicately and carefully de- tailed. He had but two fashions of rendering foliage, either massing it all in a block, as in the ‘Summer’ and in many of his backgrounds, or drawing each leaf separately in the fashion of the primitives, as in ‘The Sacred Grove’ or the Sorbonne Hemicycle. To rank Puvis de Chavannes as above all a landscapist and colorist may seem a startling conclusion, yet I believe that it is because of his landscapes and his coloring that he will be most highly esteemed in time to come. Im- agine the figures of, say, the ‘Winter’ or of ‘The Sacred Grove’ deprived of their landscapes and set against a plain background, and ask yourself howmuch of their poetry would remain. On the other hand, it is very easy to imagine ‘The Sacred Grove’ without its muses or the ‘Winter’ without its wood- choppers, and they would still be magnificent landscapes in which the poetry would be but little diminished. In these works at least the landscapes give the figures their effectiveness and their harmony. Harmony ! Yes, in a last analysis, it is in its harmony that the great charm of Puvis de Chavannes’ work resides; and how much of its harmony does it not owe to that pallid scheme of coloring which on the walls of the Salon makes one of his canvases seem so thin and watery beside the violent trum- pet-blasts of tone of our romantic painters? But observe the same painting in its place, on the wall of the Pantheon, for example, and here, beside its pale pastel-like grays and greens and violets, the brilliant pictures of the other decorators seem to explode like fireworks. Their color sings loudly, shrilly, while that of Puvis de Chavannes chants a solemn psalmody fitting for the temple. Their figures seem to start out of the wall or to shrink back into it, or to have been partially immured there by some ill-willed sorcerer and to be making desperate gestures to escape, while his appear to have been born of the stone and the architecture, and to have as little of the transitory or acci- dental about them as the pillars that enframe them. And if, turning from the outward aspect to the underlying meaning, from the body to the spirit of his pictures, we ask what is their inner signification, what they have to give us beside a harmony of visual shapes and colors, I think we shall find that they exhale, as their chief influence, a sense of calm that I can find no other adjective so fit to qualify as “holv.” They suggest something grander, higher, calmer, than anything they show, evoking the idea of some idyllic communal life and of a super-earthly peace. On the day of his death some one called Puvis de Chavannes “the peace-bringer.” FROM THE FRENCH MARIUS VACHON ‘PUVIS DE CHAVANNES* T HE evolution of form and the evolution of color in the work of Puvis de Chavannes progressed with equal steps. In his first mural canvases, at Amiens, he painted the figures direct from the living model upon the final canvas. This method naturally led to a specific quality and detail in faces, gestures, and attitudes which militated against that subordination and unity [ 409 ] 32 MASTERS IN ART which mural conditions should impose. Each figure seemed too anxious to make an individual and striking impression, careless whether a neighboring figure suffered by contrast. Moreover, still inspired by his reminiscences of the old masters or by various contemporary painters, he was afraid of no tone or shade, and colored solidly and spottily in vivid tones of red, blue, yellow, and green. But as he grew to understand better the requirements of his chosen work, he little by little abandoned the painting of “bits,” and no longer conceived or executed a decorative canvas except as a whole; working not direct from the model, but following the guidance of a single carefully worked out sketch, only the elements of which were the result of numerous preliminary studies from nature. Gradually he omitted details, and subdued all forms, attitudes, and gestures that might attract individual attention. He did not turn his back on naturalism, but his naturalism became of the broader kind which discards the particular type in favor of the general type. Finally, every figure was con- ceived and executed merely with the object of realizing a general decorative scheme; its individual beauty, no matter how great, was sacrificed whenever it did not contribute to the beauty of the group, and the beauty of the group was sacrificed whenever it did not contribute to the beauty of the whole. And just as in design he sacrificed the individual to the group, so he felt the necessity of making his schemes of color subservient also, and of giving each figure or object not an individual color but the color necessary to har- monize, first with its environment, second with the canvas as a whole, and finally with the surroundings of the painting when in place. Of this last requirement he was particularly studious. “The care to make his painting perfectly harmonious with the place and the wall it was to decorate,” writes Ph. de Chennevieres, “never ceased to occupy him during the entire progress of a work. Never did he enter the Pantheon while he was engaged on the paintings for it without again assuring himself of the general hue ot the stone by comparison with a little sample that he always carried in his pocket.” Therefore, all strongly individual colors, such as crimsons and vivid yel- lows, either disappeared from his paintings, or were allowed to remain only in very diminished tones; and he availed himself more and more of light and tender hues — grays, violets, gray-greens, blues, and especially of white — all luminous colors which, as it were, rather radiate than absorb light. As a result his canvases seemed bathed in a calm glow; a radiance so natural, however, and in such harmonious accord with the surrounding illumination, that only on examination do we discover how very luminous it is. — from THE FRENCH KENYON COX ‘MODERN FRENCH MASTERS’ P UVIS DE CHAVANNES’ art has been said to be the negation of every- thing that has always been counted art, and to be based on the omission of drawing, modeling, light and shade, and even color. On the other hand, his admirers think him a master of drawing in his own style, and certainly a master of color. To explain these seeming contradictions; to show the [4101 PUVIS DE CHAVANNES 33 reason of the omissions in his work, which do not arise from ignorance, but are distinctly wilful; to exhibit his qualities, and give a reason for the hearty admiration that many of us feel for him — this is the difficult task before me. To begin with, one must remember that Puvis de Chavannes is above all things a decorator, that his work cannot be properly judged except in place. It does not show to good advantage in an exhibition, where it is necessarily placed in contrast with works done on radically different principles; but I have seldom seen one of his decorations in the surroundings for which it was intended without being struck with its fitness and the perfection with which it served its purpose. His ‘Poor Fisherman,’ hung as an easel-picture among other easel-pictures in the Luxembourg, seems almost ludicrous. It was said of Millet’s peasants that they were too poor to afford folds in their garments; here the poverty seems even more abject, and drawing and color seem equally beyond its resources. Transfer the contest to his own ground, however, and see how Puvis de Chavannes in his turn triumphs over those who, in a gallery, utterly crush him by their greater strength and brilliancy of technique. Go to the Pantheon and look at the mural pictures executed there by many of the foremost of the French painters, and I think you will feel that there is just one of them that looks like a true decoration, exactly fitted for the place it occu- pies and the architecture that surrounds it, and that that one is Puvis de Cha- vannes’. . . . Here his drawing, with all its omissions, seems austere and noble; and his pale tints, which have been called the denial of color, look here like the only true color, absolute in harmony, a part of the building it- self — the delicate efflorescence, as it were, of the gray walls. . . . Of course it would be easy to explain this, in the way of the average critic, by loose talk about feeling and sentiment and the rest; but for those of us who believe that there is no result without means, that the important thing is not what the artist feels, but what he expresses, and that all expression must be by technical methods, so that there is no good art which is not tech- nically good — for us such an explanation is no explanation. The feeling and the sentiment are there, and I shall have something to say about them pres- ently; but they have not got upon the wall by miracle, but by the use of means to that end; and when we find Puvis de Chavannes magnificently successful where others fail, we begin to ask ourselves if it is not, perhaps, because of his apparent shortcomings, rather than in spite of them, that he succeeds, and whether what seem like technical defects are not really, for his purpose, technical merits. If this is the case, one would expect to find that the extreme simplicity of his latter style was acquired, and that he reached it by a series of elimina- tions; and one has only to go to the museum at Amiens to convince one’s self of the truth of this surmise. ‘War’ and ‘Peace,’ his first trials at grand decorative art, are in many ways singularly unlike the Puvis de Chavannes of his later years. They show little or nothing of the stiffness, the lack of accent, the flatness and the paleness of color that we associate with his name. They are the work of a good pupil of the schools, showing already something of decorative talent, but rather turbulent in composition, well drawn in an aca- [ 411 ] 34 MASTERS IN ART demic style, and painted with full modeling and with an almost overstrong light and shade. They are not the work of a master of realism, but they are realistic in method up to a certain point. There is in ‘Peace’ the back of a female figure engaged in milking a goat, which is a very good bit of flesh- painting, white and plump, with redundant modeling and nearly black shad- ows. The “bits” are better painted, in their way, than anything he has done since, but the general effect is spotty and unquiet; the pictures cut through, and you do not feel the flatness of the wall. The great law of decoration is that the ornament should set off and embellish, but never disguise, the thing ornamented; and in mural painting this thing is the wall, and its essential qualities of flatness and extent should be accentuated, not concealed. Look now at the pictures painted two years later, ‘Work’ and ‘Rest,’ and see how Puvis de Chavannes is learning this lesson. The drawing is even more able than in ‘War’ and ‘Peace,’ but the light and shade are much more subordi- nated, and inside their outlines the figures are nearly flat. The landscape, too, is kept in simpler and flatter masses, though with some beautiful detail. Indi- vidual figures are singularly lovely, some of them as classically beautiful as the work of Ingres, not to say of Raphael. If you have once studied and understood these compositions, you will never believe that the apparent absence of form in Puvis de Chavannes’ later work is other than intentional. Take one step more, and regard the vast compo- sition called ‘Ave Picardia Nutrix,’ and you will begin to see that the indi- vidual beauties of ‘Work’ and ‘Rest’ are too prominent, that you have no- ticed too much this back and the other arm, and that things charming in themselves may nevertheless be prejudicial to the general effect — that it is possible for the decoration to be better while the details are less noticeably perfect. Nothing could be finer in large decorative effect and general bal- ance, and no one part forces itself upon your attention, yet individual figures are exquisitely beautiful in their slightly simplified but adequate drawing. The color is quiet and less strong than in earlier work, but not without full- ness and beauty. Opposite it stands the ‘Ludus pro Patria’ of fifteen years later, and, looking from one to the other, one may be pardoned for wonder- ing if the process of simplification and omission has not gone too far. 1 he effect is as fine, perhaps, as in the ‘Ave Picardia Nutrix’; but one misses the charm of detail and the refinement of form. Discarding our modern realism, Puvis de Chavannes has gone back as far as Raphael. Was it necessary to go further? Simplicity is good, but does it entail so much sacrifice? Per- haps not; for there is more than one way of attaining decorative effect, and Veronese and Raphael were great decorators as well as Giotto. The titles of two of his great paintings at Lyons give a hint of the ele- ments of his artistic nature: ‘Vision Antique — Symbol de la Forme’ and ‘Inspiration Chretienne — Symbol du Sentiment,’ as the catalogue of the Salon has it. A desire for Greek simplicity and grandeur, a desire for Gothic sentiment and directness of expression — these two desires pushed him for- ward to new and ever new suppressions of the useless, the insignificant, the cumbrous. He came to leave out not only every detail that might in- 1412 ] PUVIS DE CHAVANNES 35 terfere with the effect of the whole, but every detail that was not absolutely necessary to the expression of the whole. He eliminated now for the sake of perfect clarity and now for the sake of quaint simplicity. On the classic side his highest expression is perhaps in ‘The Sacred Grove.’ Could the sense of idyllic peace and noble tranquillity be more perfectly rendered? At first sight the drawing may seem simple and almost childish, and one may think it easy to do the like; but there is the knowledge of a lifetime in these grand lines, and they are simple only as a Greek statue is simple. There are antique figures that look almost wooden in their lack of detail and of fleshy modeling, and yet in which the more you know the more you shall find, until you are astonished at the learning which neglected nothing while omitting so much. Giotto and Fra Angelico have also had their influence on Puvis de Cha- vannes, and he has felt, as have so many others, the wonderful effect of their rigidly simple works. Doubtless they were decorative by instinct, and simple because they knew no better, and left out facts which they had never learned to put in. Is that a reason why a modern painter may not learn their lesson, and knowingly sacrifice much that we have learned, and which they never knew, for the sake of attaining their clearness and directness of expression? The system is capable of abuse, as imitators of Puvis de Chavannes have shown us; and one must be very sincere and very earnest not to make an empty parody. It is not enough to leave out the unessential; one must have something essential to say. Puvis de Chavannes, at his best, is absolutely grand and absolutely sincere; and while he sacrifices, it is for the sake of ex- pressing a lofty and pure sentiment in a chastened but all the more effective style. But, besides the admirer of the Greeks and of the primitives, there is also in Puvis de Chavannes the man of this latter end of the nineteenth century, of the epoch of impressionism and the school of plein air. Nothing is more curious in the history of art than the way in which the continued study of chiaroscuro has brought modern painting back by a devious route to the shadelessness of the primitives. The early painters had no light and shade, as the Japanese have none. After all other possibilities of light and shade had been exhausted, the artists of our day began to study the model out-of-doors in gray daylight, and lo! the effect is almost that of the early frescos, but with a difference. There is almost as little shade, but there is more study of values — that is, of the exact relative degree of light or dark of each object as compared with other objects and with the sky. In the use of this truth of value Puvis de Chavannes has added something new to the art of decorative painting, and in this and in his study of landscape he is singularly modern. His earlier backgrounds are en- tirely classic, but gradually landscape occupies a greater and greater place in his work. In the ‘Ludus pro Patria’the landscape is the really important thing, and the figures are more or less incidental; and this is even truer of other compositions, such as the great landscapes called ‘Summer’ and ‘Winter,’ in the Paris Hotel de Ville. In these the figures arc relatively of little more importance than in many a painting by Corot, and they are real landscape pictures, as I have called them. Of course depth and mystery and the illu- [4 13 ] 36 MASTERS IN ART sion of light are not sought by the painter, who is decorator first and land- scapist afterward; the foregrounds are much conventionalized and detail is eliminated. He remains the simplifier in landscape as in the figure; but the essentials of landscape are studied with wonderful thoroughness, and for tone, value, color, and large form, no modern landscape is better than that of Puvis de Chavannes. . . . Of course the work of no man remains always at its highest level, and it is hard for any one to escape the defects of his qualities. After the long training in elimination, what wonder if the master sometimes seems oblivious of the things he has so striven to subordinate, and if there are passages in some of his latest work where drawing ceases to be simplified and becomes falsified? You will find now and again in his pictures an ankle or a wrist that is out of drawing, feeble, and boneless, or a body that is ill-constructed and wrongly put together. He who has learned to forget has sometimes forgotten too much. A classicist of the classicists, a primitive of the primitives, a modern of the moderns, Puvis de Chavannes is, above all, an individual and original artist, and to copy his methods would be to learn ill the lesson he teaches. His style is indissolubly bound up with his message; his manner is the only one fit to express what he alone has to say. It would be but an ill-fitting, second-hand garment for another. But let us learn from him that imitation is not art, that the whole is greater than the parts, and that art in service is the freest art and the noblest. All fact and all research are grist to the mill of art, but they are not bread until ground and kneaded and baked. I, for one, believe that the day of mere fact and of mere research is nearly ended, and the day of the isolated easel-picture, too. We are already taking the first steps even here in America; and before very long we shall have come back to the old true notion that the highest aim of art is to make some useful thing beautiful. Art will again enter that service which is for it the most perfect freedom, and as the highest aim of the painter will be to beautify the walls of the temples and palaces of the people, so the highest name he will give himself will be that of “decorator.” Cfir iPorits of ipuVits te Clja'uanitcs DESCRIPTIONS OF THE PLATES ‘THE CHILDHOOD OF ST. GENEVIEVE’ PLATE I T HIS picture in the Pantheon, or Church of St. Genevieve, Paris, is based upon the following legend: “In the year cdxxix St. Germanus, Bishop of Auxerre, and St. Loup, Bishop of Troyes, journeying on their way into England there to combat the Pelagian heresy, arrived in the environs of Nanterre; and amongst those who ran to greet them was a child upon whose countenance St. Germanus saw the sign of God’s hand. He greeted her, and foretold to her parents her high destiny.” This child was St. Gene- vieve, who was to become the patron saint of Paris. [ 414 ] PUVIS DE CHAVANNES 3 '/ The picture is divided by columns into three panels. In the right panel, among other figures, women are milking a cow for the thirsty travelers; in the left boatmen have drawn to the bank the skiff on which the bishops are to embark, while behind a sick man is borne from his hut to receive their healing touch. The central panel, shown in plate I, depicts St. Germanus with St. Loup beside him, laying his hand upon the head of the child Gene- vieve, while her parents listen to his words with awed faces, and all about kneel the reverent onlookers. None of Puvis de Chavannes’ canvases better illustrates the peculiar qual- ities of his art — a skill in composition so perfect that no thought of artifice enters the spectator’s mind; the simple breadth of execution ; the impressive- ness of the landscape background which seems indissolubly linked with the scene which it enframes and completes; the attainment of a marvelous lumi- nousness of effect through a scheme of pale coloring, which has here the ex- quisite delicacy of a pastel in its scale of blues, violets, pale rose, and mauve, till it seems hardly more than the iridescence of the white stone which sur- rounds it; and, above all, the mood-inspiring quality of the whole. ‘PEACE ’ PLATE II T HIS picture, first exhibited at the Salon of 1861 , together with its com- panion subject, ‘War,’ was one of Puvis de Chavannes’ earliest essays in mural decoration. It was purchased by the state, and later presented to the Musee de Picardie, at Amiens, which it now adorns. It is an idyl, heroic in conception and proportions. The scene is laid in an Arcadian valley, sheltered by rocky hills and shady groves. Here, war over, the youthful warriors have laid aside their arms to repose on the fresh sward, while fair women bring them the peaceful fruits of the earth. An undraped girl in the foreground milks a goat; another offers grapes to a youth seated by the edge of a stream, and near-by a young warrior dreams of deeds accomplished. About the pink blossoming oleander which marks the center of this group other figures drink or converse; and at the right peasants, led by a girl, bring baskets of fruits across a running brook. On the other side of the composition horses are tethered in the shade, and their masters join in peaceful sports. A comparison of this early canvas with those of later date shown in the other plates of the present number will clearly exhibit Puvis de Chavannes’ progress in mural art. His composition, here somewhat huddled and restless, becomes simpler and more widely spaced; contrasts of light and shade give place to pale, even illumination; the drawing both of figures and landscape is reduced to broad elementary lines; all striking “bits” are sacrificed; and the whole is flattened, clarified, and simplified. ‘THE SACRED GROVE, DEAR TO THE ARTS AND THE MUSES’ PLATE 111 I N this allegory, which adorns the Palais des Arts at Lyons, Puvis de Cha- vannes has interpreted, after his own characteristic fashion, a subject which, under various titles, has furnished matter for many pictures. In ‘The Sacred Grove,’ adorned by a marble portico, hedged in by forests [4 15 ] 38 MASTERS IN ART of olive-trees and ilex and encircled by violet hills, upon the margin of a clear lake which reflects the golden clouds of twilight and the crescent of the new moon, the muses are assembled on a greensward where flowers gleam like stars. Calliope, the muse of poetic inspiration, declaims with stately gesture to her listening sisters; and Euterpe and Thalia, heralding their coming by song and the sound of the lyre, float through the air above. On the right two attendant children are making laurel wreaths. ‘HISTORY’ PLATE IV T HE only commission that Puvis de Chavannes received for the decora- tion of any public building outside France came from the United States. Between 1895 and 1897 he painted for the staircase of the newly erected Library of the City of Boston one large composition and eight subsidiary panels. The larger composition is entitled ‘The Muses of Inspiration Hail the Spirit, the Harbinger of Light,’ and the eight subsidiary panels depict, respectively, ‘Dramatic Poetry,’ ‘Epic Poetry,’ ‘Pastoral Poetry,’ ‘Astron- omy,’ ‘Philosophy,’ ‘Chemistry,’ ‘Physics,’ and ‘History.’ The last subject is that here reproduced. In a dull red mantle and white underdress, the muse of History, crowned with a wreath of golden laurel leaves, evokes the past from the buried en- trance of an ancient temple. Beside her an attendant genius holds a torch and book. The tones of the hillside in the foreground are russets and browns, merging, where vegetation covers the upper slopes, into grayish greens. On the horizon great trees lift their trunks against a turquoise sky. The panel is dated 1896. ‘HEMICYCLE OF THE SORBONNE’ PLATE V T HIS immense semicircular composition was painted to adorn the apse of the amphitheatrical lecture-hall, capable of holding three thousand persons, of the Sorbonne, the University of Paris. The subject of the alle- gory is ‘Letters, Sciences, and Arts.’ In the center, dominating the composition, sits the figure of the Sorbonne, while beside her stand youths ready to reward the eminent living and dead with crowns of laurel or branches of palms. From before her throne flows the pure stream of learning, from which youths and an old man drink. To the left of the Sorbonne, Eloquence declaims, and the groups of women on her left and right represent the various forms of human expression — Poetry, Drama, Satire, Fable, and the like. A group further to the left sym- bolizes Philosophy under the guise of a discussion about death: a woman in somber garments holds a skull, considering death the end of all things; another in a richer garb holds a flower before her, expressing the idea of the renewal of life; Doubt, a white-haired man, reflects; Spirituality, a woman in the gray dress of a convent, makes a gesture of aspiration. Beyond, a beautiful figure typifies History, to whom a youth, drawing back the branches of a shrub, reveals an antique inscription. 1 he left end of the canvas is filled by workmen excavating an ancient wall, and an old man with written scrolls. [ 416 ] PUVIS DE CHAVANNES 39 The middle of the right half of the canvas is occupied by a group of the Natural Sciences: Botany, seated, holds a flowering branch upon her knees; next her stand the Sea and the Land, the former bearing a shell, the latter a rock crystal; near them a child, scapel in hand, leans to catch a lizard, while an- other examines with wonder a vial of microbe culture; and Mineralogy is typ- ified by an old woman leaning upon a rock. To the extreme right the Mathe- matical Sciences are represented by a group of three students absorbed in a problem of geometry; and behind them ardent youths swear to consecrate their lives to Physics, a veiled figure upon a pedestal. ‘CHRISTIAN INSPIRATION’ PLATE VI T HIS picture, in the Lyons Palais des Arts, shows the interior of a me- dieval cloister. A painter friar, who might be Fra Angelico, has come down from his ladder to study the effect of the last touch he has added to a fresco, while three pupils observe his work with concentrated attention. In the foreground another is busy with a portfolio of sketches, and, behind, a monk hangs a lamp before a shrine of the Madonna, while others talk or med- itate. Outside the red-tiled cloister wall a new moon begins to glow in the gold-green evening sky, and the sunset light turns the lonely hillside, with its somber cypresses, to hues of violet. It is the hour when belated travelers ask a night’s refuge at the convent gate; and we see monks receiving them and giving alms. The effect of the whole picture is one of twilight hush, tran- quillity, and cloistral peace. •ANTIQUE VISION’ PLATE VII U PON a rocky slope, amid orange and fig trees, are disposed nude or draped figures — a youth playing upon pan-pipes, a girl sporting with a goat, oth- ers reclining, or dreaming, or engaged in simple tasks. Above, upon a height, stands the august figure of a Muse holding out to a wondering sculptor a golden mallet and chisel that he may reproduce in marble a white cavalcade of youths, like the Panathenaic procession of the Parthenon frieze, which gallops out along the shore from a grove of pale silver-green olive-trees. Beyond a cliff of amethystine hues rises from an azure sea. Such is the composition of the ‘Antique Vision’ of the Lyons Palais des Arts. The landscape plays perhaps the chief part in the charm of this picture; and though Puvis de Chavannes used to smile when its “Hellenic quality” was spoken of, saying bluntly that it was merely a view off the Point of Pharo at Marseilles, it well exhibits his power of casting an ideal glamour over a scene based upon actuality. ‘THE POOR FISHERMAN’ P I. A T E V I 1 1 T HIS canvas, painted in 1881, and bought by the French government in 1 887, now hangs in the Luxembourg Gallery, Paris. It is Puvis de Cha- vannes’ best known and most characteristic easel-picture. It was evidently inspired by the painter’s frequent visits to the estuary of the Seine near Hon- fleur, where the desolate beauty of the dunes and the fitness of such a setting [ 417 ] 40 MASTERS IN ART for the lives of the poor fisherfolk who live by hard and uncertain labor upon them impressed him deeply. The picture shows us a gloomy sky, a waste of gray waters, a flat coast, a boat moored to the shore, and at its bow the poor fisherman, waiting with folded hands for his net to fill. On the bank lies an unswaddled baby; and near-by a girl gathers the sparse flowers. “The whole,” writes Prince Kara- georgevitch, “is executed with a determined grayness that is hardly pictorial at all — pictorial at least in the sense of illusion; and leaves an impression on the mind as of a tale that has been told — unsubstantial, almost unreal. In its abasement and utter lack of hope the figure of the poor fisherman irre- sistibly recalls some of the more tragic figures of Millet’s peasants.” ‘INTER ARTES ET NATURAM' PLATE IX T HE setting of this allegory of the Arts and Nature, which decorates the Rouen Museum, is a real scene. In the background we see the curve of the Seine between the lie Lacroix and Malaunay, while hazy in the blue distance spreads the city of Rouen, crowned with its towers and spires. The figures are disposed upon a terrace, which, though imagined by the artist when the picture was painted, has since been built on the site. At the left a young girl paints on a plaque of Rouen ware a tulip which another holds before her; a lad with a tray of pottery ready for firing follows the work attentively, while a woman reclining in the foreground watches three workmen who are setting in place architectural fragments of various periods — specimens for some museum. Near the center a young mother bends down an apple bough toward her eager child, and a boy drags a spray of trailing vine to serve as a new motive to the painter of the plaque. On the right three young artists, gathered beneath a tree, discuss the pose of a model, who stands at the extreme left of the canvas, while a fourth, elbow on knee, studies the lines of the growing plants beside him. The whole glows with a serene translucent light. The distance is veiled by luminous bluish haze, the men’s garments are of dull grays and blues, the women’s gowns are of pale, tender tones, while the blossoms of the iris about the fountain-basin, and small flow- ers, yellow and white, dot the greensward with isolated points of color. Puvis de Chavannes was reproached by some of his critics (though why it should be a reproach is difficult to conceive) of systematically excluding modern costumes from his decorative compositions. In the ‘Inter Artes et Naturam,’ however, he has employed costumes, which if not in the latest fashion, are distinctly modern, though this was probably intended not as an answer to his critics but because the allegory was to decorate the museum of a city esteemed for the creations of her modern artists and artisans. ‘WINTER’ PLATE X F OR the Paris Hotel de Ville Puvis de Chavannes painted, during 1891 and 1 892, two important wall panels, one entitled ‘Winter’ and the other ‘Summer.’ The former, the subject of plate x, shows a snowy landscape under a cold, leaden sky. Standing beside a poplar which he has notched [ 418 ] PUVIS DE CHAVANNES 41 at its base, a forester gives the signal to three half-naked woodmen to pull on the rope attached to the top of the tree. In the foreground is the figure of a woman with a staff, and a laborer loads his companion with fagots. To the right a poor woman has taken refuge in the ruin of some stone habitation, which also shelters an old man. To her a compassionate woodman offers a loaf of bread, while another warms the half-frozen limbs of a little child at a fire of twigs. In the distance are seen mounted huntsmen returning from the chase, with servants carrying the carcass of a stag. A LIST OF THE PRINCIPAL PAINTINGS BY PUVIS DE CHAVANNES IN PUBLIC BUILDINGS OR GALLERIES F RANCE. Amiens, Musee de Picardie: Peace, 1861 (Platen); War, 1S61; Work, 1863; Rest, 1863; Standard-bearer, 1864; Desolation, 1864; Harvester, 1864; Spin- ner, 1864; Ave Picardia Nutrix, 1865; Ludus pro Patria, 1882 — Champagnat Church : Ecce Homo, 1851 — Chartres Museum : Harvest, 1870 — Lille Museum : Sleep, 1 8 64; Portrait of the Artist — Lyons, Palais des Arts: Autumn, 1864; The Sacred Grove, dear to the Arts and the Muses, 1884 (Plate hi); Antique Vision, 1S85 (Plate vu); The Rhone and the Saone, 1886; Christian Inspiration, 1887 (Plate vi) — Marseilles, Palais de Longchamp: Return from Hunting, 1859; Marseilles, Gate of the East, 1868; Marseilles, Greek Colony, 1869 — Paris, Hotel de Ville: Summer, 1891; Winter, 1892 (Plate x); Four Panels of The Seasons, 1891—1893; Victor Hugo Offering his Lyre to the City of Paris, 1893, with Subsidiary Panels representing the Virtues of Paris, and Ancient Paris and Modern Paris — Paris, Luxembourg Gallery: The Poor Fisherman, 1881 (Plate vin) — Paris, Pantheon: The Childhood of St. Genevieve, in two panels: (1) St. Germanus Predicting Genevieve’s High Calling (see Plate 1), (2) St. Genevieve in Prayer, 1876-77, with Two Subsidiary Panels: (1) Faith, Hope, and Charity Watching over Genevieve’s Cradle, (2) The Legendary Saints of France, 1877; St. Genevieve Pro- visioning Paris, 1898; St. Genevieve Watching over Sleeping Paris, 1898 — Paris, The Sorbonne: Hemicycle representing The Letters, Sciences, and Arts, 1889 (Plate v) — Poitiers, H&tel de Ville: St. Radegunda at the Convent of Sainte-Croix, 1872; Charles Martel, Conqueror of the Saracens, 1874 — Rouen Museum: Inter Artes et Naturam, 1890 (Plate ix); Pottery, 1891; Ceramics, 1891 — ITALY. Florence, Uffizi Gal- lery: Portrait of the Artist — UNITED STATES. Boston Public Library: The Muses of Inspiration Hail the Spirit, Harbinger of Light, 1S95, with eight Supplementary Panels, (1) Pastoral Poetry, (2) Dramatic Poetry, (3) Epic Poetry, (4) History (Plate iv), (5) Astronomy, (6) Philosophy, (7) Chemistry, (8) Physics, 1896—97. PICTURES IN PRIVATE POSSESSION P IETA, 1850; Jean Cavalier at the Bedside of his Dving Mother, 1850; Four Seasons, and Return of the Prodigal (painted for his brother’s country house), 1854; Martyr- dom of St. Sebastian, 1857; Meditation, 1857; Village Firemen, 1857; Salome, 1857; St. Camille, 1857; Julie, 1857; Fantasy, Vigilance, Dreams, Poetry (painted for the house of Mme. Claude Vignon), 1859; At the Fountain, 1869; Beheading ot John the Baptist, 1870; Magdalen (Cheramy Collection), 1870; Young Girls and Death, 1872; Hope, 1872; Summer, 1873; The Carrier Pigeon and The Balloon (given to a Lottery organized in 1874 in Chicago after the fire in that city), 1871; Fisherman’s Family, 1S75; Girls by the Seashore, 1879; The Prodigal Son, 1879; ‘ Dotix Pays’ (painted for the house of M. Leon Bonnat), 1882; Woman at hcrToilet, 1883; Portrait of the Princess Cantacuzcne, 1883; Fhc Dream, 1883; Orpheus, 1883; Autumn, 1883. [ 4 1 9 J 42 MASTERS IN ART guilts tie Clja'uamtrs 9StI)ltograpi)j> A LIST OF THE PRINCIPAL BOOKS AND MAGAZINE ARTICLES DEALING WITH PUVIS DE CHAVANNES fNARD, M. Les Peintures decoratives de Puvis de Chavannes au Palais des Arts, Lyon. Lyons, 1SS4 — Bell, N. R. E. Representative Painters of the xix Century. London, 1899 — Benedite, L. Les dessins de Puvis de Chavannes au Musee du Luxem- bourg. Paris, 1900 — Breton, J. Nos peintres du siecle. Paris [1900] — Bricon, E. Psychologie d’art. Paris, 1900 — Brownell, W. C. French Art. New York, 1901 — Child, T. Art and Criticism. New York, 1892 — Cox, K. Puvis de Chavannes (in Van Dyke’s Modern French Masters). New York, 1896 — De Vogue, E. M. Devant 1 ’ Ete (in his Regards historiques et litteraires). Paris, 1892 — Du Marest, A. ATravers 1 ’ ideal. Paris, 1901 — Ebe, G. Die Dekorationsformen des i9 ten Jahrhunderts. Leipsic, 1900 — Gonse, L. Les Chefs-d’oeuvre des Musees de France. Paris, 1900 — Hamerton, P. G. Painting in France. London, 1869 — King, P. American Mural Painting. Bos- ton, 1902 — Kingsley, Rose G. A History of French Art, 1100-1899. London, 1899 - — Larroumet, L. B. C. P. Etudes de litterature et d’art. Paris, 1895 — Lf. Roux, H. Puvis de Chavannes (in his Portraits de Cire). Paris, 1891- — MacColl, D. S. Nineteenth Century Art. Glasgow, 1902 — Mauclair, C. L’art en silence. Paris, 1901 — Mi- chel, A. Notes sur Part moderne. Paris, 1896 — Moore, G. Modern Painting. New York, 1893 — Muther, R. History of Modern Painting. NewYork, 1896 — Muther, R. Ein Jahrhundert franzosischer Malerei. Berlin, 1901 — Riortor, L. Essai sur Puvis de Chavannes. Paris, 1896 — Rood, L. L. Puvis de Chavannes. Boston, 1895 — Stran- ahan, C. H. History of French Painting. NewYork, 1895 — Vachon, M. Puvis de Chavannes. Paris [1900]. \T et Decoration, 1898: L. Benedite; Puvis de Chavannes — Art Journal, i 895 : J. Bernac; The New Style of Puvis de Chavannes — Art Journal, 1896: J. Cart- wright; Puvis de Chavannes — Athen^um, 1899: A. Michel; Mourning for Puvis de Chavannes — Atlantic Monthly, 1897: C. Waern; Decorations in Boston Public Li- brary — Century Magazine, 1896: Kenyon Cox; Puvis de Chavannes — Deutsche Rundschau, 1897: W. Gensel; Puvis de Chavannes — Figaro Illustre (special num- ber), 1899: A. Alexandre; Puvis de Chavannes — Gazette des Beaux-Arts, 1881: A. Baigneres; La Peinture decorative au xix e siecle, Puvis de Chavannes. 1888: A. Michel; Exposition de Puvis de Chavannes. 1896: A. Rehan; Puvis de Chavannes. 1898: Anon. ; Puvis de Chavannes. 1899: J. Buisson; Puvis de Chavannes, souvenirs intimes — Gesell- schaFT, 1899: M. G. Conrad; Puvis de Chavannes und Felic Rops — Graphischen Kunste, 1891 : A. Michel; Puvis de Chavannes — Harper’s Magazine, 1902: L. Roger- Miles; Puvis de Chavannes, Caricaturist — Harper’s Weekly, 1896: T. Sisson; New Panels for Boston Public Library — International Studio, 1899: G. Mourey; Some Sketches of Puvis de Chavannes — Kunst fur Alle, 1898: G. Keyssner; Puvis de Cha- vannes — Kunsthalle, 1899: W. Gensel; Wort uber Puvis de Chavannes — La Plume, 1895 (special number on Puvis de Chavannes) — Magazine of Art, 1885: C. Phillips; Puvis de Chavannes. 1893:6. Karageorgevitch; Puvis de Chavannes — McClure’s Mag- azine, 1897: W. H. Low; Puvis de Chavannes — Modern Art, 1895: L. L. Rood; Puvis de Chavannes. 1895: R. Ballu; Puvis de Chavannes — Nation (Berlin), 1898: B. Riittenauer; Puvis de Chavannes — Nouvelle Revue, 1895: M. Vachon; Puvis de Chavannes — Pall Mall Magazine, 1899: M. v. Vorst; Puvis de Chavannes- — Revue Bleue, 1 900: P. Flat; Dessins de Puvis de Chavannes — Revue des Deux Mondes, i 898 : R. de la Sizeranne; Puvis de Chavannes — Revue de Paris, 1895: A. Renan; Puvis de Chavannes — Revue Illustree, 1894: L. de Fourcaud; Puvis de Chavannes — Scrib- ner’s Magazine, 1900: J. La Farge; Puvis de Chavannes. — Zeitschrift fur bildende Kunst, 1899: R. Gratil; Puvis de Chavannes. magazine articles [ 420 ] MASTERS IN ART PUVIS DE CHAVANNES The Chavannes mural paintings in the Boston Public Library, — including the eight side panels as well as the “ Muses ” shown here, — are all reproduced in THE MUSES WELCOMING THE GENIUS OF ENLIGHTENMENT Also Sargent’s new decoration, ZS he "Dogma o_fthe 'Redemption, and Abbey’s frieze of the Holy Grail , both in the Boston Library. C rhe genuine Copley Prints have for years been recognized by the most distinguished artists as the best art reproductions made in America. Mr. Sargent says, “ I have pleasure in expressing my opin- ion of their excellence.” Mr. Abbey, writing of our Prints of his Holv Grail, says, “Those that have been published reproducing my own work I could not wish bettered.” ^Being with few exceptions obtainable in no other form, these Prints have especial individuality and distinction, both as gifts and for framing for one’s own walls. In purchasing at the art stores make sure that the genuine Prints are shown you. The genuine are published solely bv the under- signed, and each Print bears our initials in monogram — ^Attention is invited to our book on the Holy Grail, fully illustrated, $5.00 net ; the book on American Mural Painting, by Pauline King, also illustrated, $3.5° nct ! ar >d our Handbook of the Boston Public Library, containing illustrations of all the Chavannes decorations, 23 cents. ^T Thc Prints range in price from 50 cents to 520.00. Obtainable at the art stores, or sent on ap- proval by the publishers. Send 1 5 cents (stamps) for our complete illustrated catalogue. Print of above subject , copyright 7897, by CUR.TIS «, CAMEROON. PUBLISHERS 23 Pierce Building BOSTON Opposite Public Librnry In answering advertisements, please mention Masters in Art MASTERS IN ART I F you have a sensitive ear and are distressed by incorrect or expressionless piano-playing, we wish you would do us a favor. Ask our nearest agent to let you play a piano with our New ANGELUS, which has the New Phrasing Lever. You will be more than repaid. Even though you never played a note of music, you will be enabled to reproduce perfectly the delicate shading and expression — the last touches of musical grace of the greatest pianists. The ANGELUS ORCHESTRAL has still another feature that will please you. In- side this instrument (Model No. 66) is a complete set of very sweet flute-toned PIPE REEDS (fully patented). This instrument is orchestral, because you can have any of the following effects : First — The ANGELUS playing the piano alone. Second — The ANGELUS playing the Pipe Reeds alone. Third — The ANGELUS playing both the piano and Pipe Reeds in combination, pro- ducing indescribable beauties of melody and harmonies that will cause you to marvel. Very easy of operation. The ANGELUS is the pioneer of all PIANO PLAYERS. Purchased by Royalty and the world’s greatest musicians. Handsome booklet free upon request. Agents everywhere. May be heard at any of the following places : Baltimore, Juelg & Co. Kansas City, Carl Hoffman Music Co. Boston, C. C. Harvey & Co. Los Angeles, the Bartlett Music Co. Chicago, Geo. P. Bent. Minneapolis, Foster & Waldo. Cincinnati, The W. G. Woodmansee New Haven, Conn., The Treat& Shephard Piano Co. Co., 837 Chapel St. Cleveland, J. T. Wamelink & Sons’ New Orleans, Junius Hart Piano House. New York, John Wanamaker. Omaha, A. Hospe & Company. Philadelphia, John Wanamaker. Piano Co. Denver, Ivnight-Locke Piano Co. Galveston, Thos. Goggan & Bro. Pittsburg, S. Hamilton San Francisco, Sherman Clay & Co. Springfield, Mass., M. V. Conway, 354 Main St. Syracuse, S. Rosenbloom & Sons. Washington, Juelg & Co. J. Herbert Marshall, Regent House, Regent St., London. And other local agencies throughout the country. THE WILCOX & WHITE CO ., ESTABLISHED 1876. Sole Makers. MERIDEN, CONN., U. S. A. In answering advertisements, please mention Masters in Art MASTERS IN ART Everybody who admires beautiful table silver will be interested to know how to obtain one of our “ World Brand ” Sugar Shells (regular size 6 inches long) absolutely Free. This we know is an expensive way to advertise, but if we can impress you with the superiority of “ World Brand ” Silverware over other brands we shall feel amply repaid for our efforts and expense. Write to day about our free offer. THE AMERICAN SILVER CO., : : 15 Main St., Bristol, Conn. Use the ADAMS CABLE CODEX, a Cipher Code for Circulation Among Travellers “IBS If you are going abroad for a Bicycle Trip send for “ BICYCLING NOTES FOR TOURISTS ABROAD.” EUROPEAN PASSAGES F. O. HOUGHTON & CO., 115 State Street, corner Broad, Boston, Mass. leplanti line From BOSTON To LIVERPOOL ^ Low Rates, First Cabin Only Carried $50 Winter rate after Sept. 30 Round Trip as low as $95 — good for return after Oct. 31 Summer rate $65 These new and immense steamships are among the largest vessels sailing from Boston, and have a limited number of staterooms for first-cabin passengers only. The staterooms are large and are located on the upper decks. Splendid new steamers now running : — [ DEVONIAN, 10,418 Tons WINIFREDIAN, 10,405 Tons STEAMERS: BOHEMIAN, 10,300 Tons I CESTRI AN, 10,300 Tons ' CANADIAN, 9,301 Tons F. O. HOUGHTON & COMPANY, General Passenger Agents 115 State Street, corner Broad Street, Boston Telephone, 1359 Main, Boston In answering advertisements, please mention Masti ks in Akt MASTERS IN ART °N EVER^ Have achieved by their uniformly Delicious Quality. Perfect Purity, and Delightful Flavors, the LARGEST SALES OF ANY CONFECTIONS IN THE WORLD L OWNEY’S CANDIES in the Original Sealed Pack- ages are guaranteed to be in perfect condition or money refunded. Guarantee slip in each sealed package. We send FREE the Lowney Receipt-Book, telling how to make Chocolate Bonbons, Fudge, Icings, etc., etc., at home. THE WALTER M. LOWNEY COMPANY K. No. 447 Commercial Street BOSTON, MASS. In answering advertisements, please mention Masters in Art wmmmmm , 1 MASTERS IN ART 9 lrt (galleries OF EDWARD BRANDUS 391 FIFTH AVENUE 391 Between 36th and 37th Streets NEW YORK 16, RUE DE LA PAIX, 16 PARIS drtjtbttton of patnttngg B v the Leading Masters of the French School AND ancient pntraitg By the Old Masters of the Early French, English, and Dutch Schools I flMcture-Xujbtmo Is in Itself an Art. Fine paintings are often spoiled by ineffective or poor lighting. c Ztyt famous f rink cSp^tem is being used in a large number of the finest galleries in the country, and by a great many prominent collectors. Covers the pictures with a strong, even light ; no glare in the eyes, or spots on the picture space. ftn ^fceal Slight. We have made a special study of picture-light- ing, and are prepared to give you the best re- sults attainable. Galleries, individual collections or paintings successfully lighted. Investigation invited. c I. P. FRINK, 551 Pearl Street, New York City. In answering advertisements, please mention Masters in Art ^Erh^jlllustrattiiilfonoflrapijs A PARTIAL LIST OF THE ARTISTS TO BE CONSIDERED IN ‘MASTERS IN ART’ DUR- ING THE CURRENT VOLUME WILL BE FOUND ON ANOTHER PAGE OF THIS ISSUE. THE NUMBERS WHICH HAVE ALREADY APPEARED IN 1903 ARE: Part 37, JANUARY Part 3s, FEBRUARY Part 39, MARCH Part 40, APRIL Part 41, MAY Part 42, JUNE Part 43, JULY Part 44, AUGUST Part 45, SEPTEMBER PART 4 ROMNEY . FRA ANGELICO . WATTEAU RAPHAEL’S FRESCOS DONATELLO GERARD DOU CARPACCIO ROSA BONHEUR GUIDO RENI THE ISSUE FOR 3 lol'cmI)cr WILL TREAT OF NUMBERS ISSUED IN PREVIOUS VOLUMES OF ‘MASTERS IN ART' mi 1 aaoi u. Part i Part 2 Part 3 Part 4 Part 5. Part 6 Part 7 Part 8. Part 9. Part 10 Part ii Part 12. Part 25.- Part 26. Part 27. Part 28 Part 29. Part 30 - -VAN DYCK -TITIAN -VELASQUEZ -HOLBEIN -BOTTICELLI -REMBRANDT -REYNOLDS -MILLET -GIO. BELLINI -MURILLO -HALS -RAPHAEL * Sculpture Part 13 Part 14 Part 15 Part i() Part 17 Part 18 Part 19 Part 20 Part 21 Part 22 Part 23 Part 24 f Pain —RUBENS —DA VINCI — DURER — MICHELANGELO* — MICHELANGELOf — COROT — BUR N E-JONES —TER BORCH — DELLA ROBBIA —DEL SARTO —GAINSBOROUGH —CORREGGIO ting 1001 . 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In answering advertisements, please mention Masters in Art MASTERS IN ART COLORGRAPHS §UR new pictures, the “Colorgraphs,” are, as the title suggests, reproduc- tions in color. The subjects have been carefully selected from the most famous works of both ancient and modern masters. The “Colorgraphs” will at once be recog- nized as gems of art, for their faithfulness to the originals in the depth and beauty of col- oring brings them close to the possible limits of reproductive art. Hist of Subject? Ifroto Heabjj MADONNA DEL GRAN DUCA MADONNA OF THE CHAIR CORONATION OF THE VIRGIN ST. ANTHONY OF PADUA ST. CECILIA MARY’S VISIT TO ELIZABETH HOLY FAMILY By Raphael By Raphael By Botticelli By Murillo By Raphael By Alhertinelli By Andrea del Sarto By Murillo By Plockhorst By Plockhorst By Plockhorst Christ and By Hofmann CThe “ Colorgraphs” are 8 x io inches in size, and each is enclosed in a neat deckle-edged portfolio. Price, 35 cents each W. A. WILDE COMPANY MADONNA AND CHILD CHRIST THE CONSOLER THE GOOD SHEPHERD REPOSE IN EGYPT HEAD OF CHRIST. From the Rich Young Ruler ” BOSTON 120 Boylston Street CHICAGO 192 Michigan Avenue Tilt Crabclcr’s girt Club A PRACTICAL and successful method for the Study of Art at your home, or in clubs, devised and arranged by Mrs. Adeliza Brainerd Chaffee, after years of experience in Lecturing, Study, and Foreign Travel. topics Full details upon application CR are and Beautiful Water Colors and Carbons. CR eproduedons from famous Masterpieces, and Original Views in Venice, Rome, and Florence. ^The Raphael Prints in Sepias, 3,000 sub- jects, new and beautiful. Order bp mail. t jaffee Stutrto 1 Hancock St., Worcester, Mass. GIBSON PYROGRAPHY $1.80 famous li*inj( [Mm-anddnk artist, l.i« work* •ellin* for fabulous nuw rmraMj ivUpt'd to Pyroxrapbic rrpr«/Ju>nion. T. & C. OUTFIT NO. 95 Shown fthore, value I« Ujtnpvririly offered for Tlil« Is a Msrh-trrvle Instrument. tpbmd Idly mad" of the bent material*, and Includes flno Platinum Point, Cork Handle. Rubber TtiMn*. DotiMo Action Hull., Metal Union Cork, ItKtle, AJtohol Uin|i. Two Pi ere* Mtam[ie«l Praetkre Wood. and full InMr'HJtksi*. all t» ,n "d In neat leatherette Ho*. For ul* by jour dealer, nr »ent by u* C.O.D. for e*aml- aatkwi. Write for our blf 'Vtj.njo Cataloru" with "obrred ln*ert« No. 14 W...FRKL Illu«tratea hundred! of filb*on and ’l.er artist' I- >irn»«n " *»l. rr»dj I I 1 1 foT burnln <' »•**' •” ot P*'J -utflU at lowest V/Mi'-wfV This trade-mark on «T«rythinj( wo make. It mean* quality. Call for T. 4 C. PyrojrrapMa b