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Updated: May 2, 2025
Having in each case more or less relation with, but really wholly outside of and superior to all "schools" whatever except the school of nature, which permits as much freedom as it exacts fidelity is the succession of the greatest of French sculptors since the Renaissance and down to the present day: Houdon, David d'Angers, Rude, Carpeaux, and Barye.
In 1868 Barye was made Member of the Institute, although two years earlier he had been humiliated by having his application refused. And from America, in addition to numerous proofs of the esteem in which he was held there by private amateurs, he received through Mr. Walters in 1875 an order to supply the Corcoran Gallery at Washington with an example of every bronze he had made.
Of Daubigny's intimate landscapes thirteen are offered to our appreciation, 2813-2825, among which: 2821, The Thames at Erith; 2822, The Mill at Gyliers; and 2824, Morning, are notable. The glass cases in the centre of the room exhibit a numerous collection of bronzes by Barye, whom we have seen among the modern sculptors in Room VI.
He is in the legitimate line of French sculpture, the line of Goujon, Puget, Rude, Barye. Dalou did not hesitate to assert that the Dante portal is "one of the most, if not the most, original and astonishing pieces of sculpture of the nineteenth century."
His minor tastes, of course, had been carefully kept up to date. At the proper time, pictures of the Barbizon masters, old English plate and portraits, bronzes by Barye and marbles by Rodin, Persian carpets and Chinese porcelains, had been introduced to the mansion.
The question is not difficult to answer, since, like most of the truly great artists, Barye had clear-cut characteristics among which may be found those that separate him from and raise him above his contemporaries. Scientific grasp of detail and artistic generalization are to be found in all his work where an animal is the subject, and this combination is in itself a mark of greatness.
His minor tastes, of course, had been carefully kept up to date. At the proper time, pictures by the Barbizon masters, old English plate and portraits, bronzes by Barye and marbles by Rodin, Persian carpets and Chinese porcelains, had been introduced to the mansion.
"A tremendous success! Barye has never done anything so good before." "And the bust of the Nabob! What a marvel. How happy Constance Crenmitz is! Look at her trotting about!" "What! That little old lady in the ermine cape is the Crenmitz? I thought she had been dead twenty years ago." Oh, no! Very much alive, on the contrary.
As we observe the lion fastening his teeth in the flesh of the boar, the bear grappling with his human slayer, and the energy and determination of the creatures at bay, our thought involuntarily bridges a chasm of four centuries and calls up the image of the Barye bronzes in which are displayed the same detachment of vision, the same absence of sentimentality, the same vigor and intensity if not quite the same strangeness of imagination.
It is only in familiar converse with friends that the humor, the cultivation, the knowledge, and the social charm of the man appear, and his marvellous gift of vivid and picturesque narration discloses itself. It would be a poor compliment to call Edward Kemeys the American Barye; but Barye is the only man whose animal sculptures can bear comparison with Mr. Kemeys's. Of Mr.
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