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If there is not exactly affectation in them, there is at least a kind of theatrical and sacerdotal posing, a sort of professional attitudinizing. Truth is not as fine as this, but it is more living, more pathetic, more varied. Marble images are cold. Was it not Musset who said, "If De Laprade is a poet, then I am not one?" February 27, 1880.
As to the purely literary essays of M. de Laprade, they may be read both with more pleasure and more profit than those in which he attempts to discuss the principles of aesthetics. "French Tradition in Literature," and "Poetry, and Industrialism," are full of suggestive thoughts, and, coming in the latter half of the volume, make us forget the pretentious nature of the first.
Par Victor de Laprade, de l'Académie Française. The object of M. de Laprade is to defend what he calls "Spiritualism in Art." He wages an unrelenting war against the modern school of Realism. It is not the representation of visible Nature that the artist must seek; his aim must be "the representation of the invisible."
Laprade alone must give them their food on the journey. The military officer of the escort was warned to ask no questions. They are of more consequence, one of them at least, than the prisoners on the island, and must be put in the safest places." The "one" is doubtless Mattioli.
About the best known of Matisse's companions for they were in no sense his disciples were, I should say, Friesz, Vlaminck, Laprade, Chabaud, Marquet, Manguin, Puy, Delaunay, Rouault, Girieud, Flandrin. I think I am justified in describing all these, with the exception, perhaps, of Girieud and Flandrin, as Fauves; assuredly I have heard them all so described.
Commenting on the hyper-spirituality of M. Laprade, he says: "M. Laprade starts from the absolute notion of being. For him the following is the principle of Art, 'to manifest what we feel of the Absolute Being, of the Infinite, of God, to make him known and felt by other men, such in its generality is the end of Art. Is this true, is it false?
Of these, "André," "La Mare au Diable," and "La Petite Fadette" are reviewed with praise in the work under consideration, while the force of criticism is expended on "Indiana," "Lelia," and "Jacques." Whatever claims the academician Victor de Laprade may have to poetic talent, he certainly sinks below mediocrity when he attempts to discuss the principles of the art he practises.
Mattioli, in Pignerol, at the end of 1693, had been in trouble. He and his valet had tried to smuggle out letters written on the linings of their pockets. These were seized and burned. On March 20, 1694, Barbezieux wrote to Laprade, now commanding at Pignerol, that he must take his three prisoners, one by one, with all secrecy, to Sainte-Marguerite.
The very young artists Laprade and Charles Guérin have shown for the last three years, at the exhibition of the Indépendants, some works which are the worthy result of Manet's and Renoir's influence. They, too, justify great expectations. The landscapists Paul Vogler and Maxime Maufra, more advanced in years, have made themselves known by some solid series of vigorously presented landscapes.
In this gloom, uncertain of his bearings, he stumbled at every turn, speaking of Murger who had "the care of a chiselled and carefully finished style"; of Hugo who sought the noisome and unclean and to whom he dared compare De Laprade; of Paul Delacroix who scorned the rules; of Paul Delaroche and of the poet Reboul, whom he praised because of their apparent faith.
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