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There were some slashes; one "long-haired" fellow from the Cafe de Seville failed in his criticism the very one who once wrote a description of the violation of a tomb to crush the author of L'Atelier in an ultra-classical article, wherein he protested against realism and called to witness all the silent, sculptured authors in the hall.
Louis, in one room only, but large and bright, from whose window he can see, as he leans out, the coming and going of boats on the river and the sun as it sets behind Notre-Dame. Amedee has been working mostly upon his drama, for the Comedie-Francaise this summer, and it is nearly done; it is a modern drama in verse, entitled L'Atelier.
There were some slashes; one "long-haired" fellow from the Cafe de Seville failed in his criticism the very one who once wrote a description of the violation of a tomb to crush the author of L'Atelier in an ultra-classical article, wherein he protested against realism and called to witness all the silent, sculptured authors in the hall.
The rehearsal of his piece, which had just begun at the Comedie Francaise, the long sittings at the theatre, and the changes to be made from day to day, were a useful and powerful distraction for Amedee Violette's grief. L'Atelier, when played the first week in April, did not obtain more than a respectful greeting from the public; it was an indifferent success.
Louis, in one room only, but large and bright, from whose window he can see, as he leans out, the coming and going of boats on the river and the sun as it sets behind Notre-Dame. Amedee has been working mostly upon his drama, for the Comedie-Francaise this summer, and it is nearly done; it is a modern drama in verse, entitled L'Atelier.
Je connais l'atelier de Marquet, Madame, en marge de l'Atelier où l'on esthétise, où l'on fabrique les manifestes et les novateurs de génie. Marquet garde son rôle de peintre. Il n'est guère pour lui de souci plus sérieux que le souci de sa liberté.
For the most part we have, however, to think of Alfred Stevens as a portraitist of the ponderable world; a Flemish lover of brilliant appearances, a scrupulous translator of the language of visible things into the idiom of art. In the picture entitled L'Atelier, which we reproduce, is a more or less significant instance of his artistic veracity.
The first was stamped with the celebrated name: "Comedie Francaise, 1680." The manager announced in the most gracious terms that he had read with the keenest pleasure his drama in verse, entitled L'Atelier, and he hoped that the reading committee would accept this work. "Too late!" thought the young poet, as he tore open the other envelope.
There were some slashes; one "long-haired" fellow from the Cafe de Seville failed in his criticism the very one who once wrote a description of the violation of a tomb to crush the author of L'Atelier in an ultra-classical article, wherein he protested against realism and called to witness all the silent, sculptured authors in the hall.
That this, and not the elder Breughel's, is the original of the picture in Steven's L'Atelier is clear at the first glance, the warm tonality having been accurately reproduced and even the drawing of the tree branches, which differs much in the two museum pictures having conformed precisely to that in the copy by the younger Breughel.
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