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If so, in the name of Napoleon and Louis XIV, but, let us hope, with the science and restraint of Poussin and Ingres, they will turn, most likely, to the classical tradition and, while endeavouring to create significant form, will assert vehemently that they are expressing their political convictions. Sooner or later the critic who wishes to be taken seriously must say his word about Derain.
And they talked about Ingres for some time, until Owen's thoughts went back to Evelyn, and looking from the portrait by Ingres to the drawing by Boucher he seemed suddenly to lose control; tears rose to his eyes, and Harding watched him, wondering whither Owen's imagination carried him. "Is he far away in Paris, hearing her sing for the first time to Madame Savelli?
I dedicated a slight piece written for the violin to Doré. This was not lost as the one to Ingres was, but it would be entirely unknown had not Johannes Wolf, the violinist of queens and empresses, done me the favor of placing it in his repertoire and bringing his fine talent to its aid. Hébert was the most serious of the painter-violinists.
There may be seen to-day in one of the new halls of the French School at the Louvre, the pretty picture by Heim, which represents Charles X. distributing the prizes for the Exposition of 1824, where Le Vaeu de Louis XIII. by Ingres had figured, and where the talent of Paul Delaroche had been disclosed.
He will always stand as the companion of Ingres and Delaroche and Géricault; and if his successors surpass him even in his own path, they will owe much to him who helped to open the way. He lived through times of trouble, when a man's faith in humanity might well be shaken, yet he remained no less a believer in and lover of mankind.
What allies him with the impressionists is his fondness for fleeting aspects, his caring for nothing beyond aspect for the look of things and their transitory look. He is an enthusiastic admirer of Ingres who, one would say, is the antithesis of impressionism. He never paints from nature.
It is natural that he admired the precision of Bouguereau, it is also quite natural that he should have worshipped in turn, Delacroix, Courbet, and without doubt, the mastery of Ingres, and it is indicative too that he felt the frank force of Manet.
The return home and marriage would ensure his future materially and socially, and up to a certain point render him independent of malevolent criticism. For already Ingres was fiercely attacked by Parisian authorities on art: he had become important enough to be a target.
Well, wait till you see her ... H'm that shoulder won't do!" Doris had just placed a preliminary sketch of one of her "subjects" under his eyes "and that bit of perspective in the corner wants a lot of seeing to. Look here!" The old Academician, brought up in the spirit of Ingres "le dessin, c'est la probité! le dessin, c'est l'honneur!" fell eagerly to work on the sketch, and Doris watched.
We remember how the stiff-necked Ingres, the greatest Raphaelesque of this century, hurled at Delacroix's head the famous dictum, "Le dessin c'est la probité de l'art," and how his illustrious rival, the chief of a romanticism which he would hardly acknowledge, vindicated by works rather than by words his contention that, if design was indeed art's conscience, colour was its life-blood, its very being.
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