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The perception remained that of the old masters, and the execution resumed and continued the best bits of work one can find in our public galleries. Both Delacroix and Courbet came at the proper time. Each made a stride forward. And now ah, now!
No one can ever replace Patti, Bartet or Sarah Bernhardt. They could not replace Ingres, Delacroix, Berlioz, or Gounod, and they can never replace Massenet. It is a question whether he has been accorded his real place. Perhaps his pupils have estimated him at his true worth, but they were grateful for his excellent teaching, and may be rightly suspected of partiality.
Apart from certain fundamental rules for managing the pedals, no pedagogic regulations should ever be made for the more refined nuanciren. The portraits of Chopin differ widely. There is the Ary Scheffer, the Vigneron praised by Mathias the Bovy medallion, the Duval drawing, and the head by Kwiatowski. Delacroix tried his powerful hand at transfixing in oil the fleeting expressions of Chopin.
Admitting, therefore, as I do, that the criticism of Delacroix was just, it is evident that, until we give to the modern student of painting a similar training to that which the early one had, we cannot expect him to attain the executive powers of the Italian renaissance, nor can we be sure that he appreciates the subtlety of the work of the masters, any more than the member of a village choir can understand the finesse of the highest order of musical execution, or its first violinist appreciate the touch of a Joachim or a Sarasate.
Amongst the works of modern painters were pictures with the signatures of Delacroix, Ingres, Decamps, Troyon, Meissonier, Daubigny, etc.; and some admirable statues in marble and bronze, after the finest antique models, stood upon pedestals in the corners of this magnificent museum. Amazement, as the Captain of the Nautilus had predicted, had already begun to take possession of me.
Paul Vence could only say that he was a senator. He had seen him one day by chance in the Luxembourg, in the gallery that served as a library. "I went there to look at the cupola, where Delacroix has painted, in a wood of bluish myrtles, heroes and sages of antiquity. That gentleman was there, with the same wretched and pitiful air. His coat was damp and he was warming himself.
What a classicism, inspired by rouge, gas-lamps, and a few lines in Lempriere, and copied, half from ancient statues, and half from a naked guardsman at one shilling and sixpence the hour! Delacroix is a man of a very different genius, and his "Medea" is a genuine creation of a noble fancy. For most of the others, Mrs.
Among the works of modern art were pictures signed by Delacroix, Ingres, Decamps, Troyon, Meissonier, Daubigny, etc., and some wonderful miniature statues in marble or bronze, modeled after antiquity's finest originals, stood on their pedestals in the corners of this magnificent museum.
"A sun in his head and a hurricane in his heart," was said of him, as it was first said of Delacroix by a critical contemporary. Vincent Van Gogh is, to my way of thinking, the greatest genius of the trio under discussion. After them followed the Uglicists and the passionate patterns and emotional curves of the Cubists.
The more recent French school, comprising Delacroix, Meissonier, Gerome, Cabanel, Millet, Rosa Bonheur, an artist of masculine vigor, the famous painter of animal pictures, is distinguished for technical skill and finish, but also for a bold and peculiar method of treatment. Among the leading landscape-painters of this school, Corot, Daubigny, Rousseau, Diaz, are conspicuous.
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