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Updated: June 12, 2025
In other hands one can easily imagine how insipid it might become. It has too little body, its scheme is too timorous, too vaporous to be handled by another. Puvis de Chavannes will probably have few successful imitators. But one must immediately add that if he does not found a school, his own work is, perhaps for that reason, at all events in spite of it, among the most important of the day.
There are many to whom Henri Martin's gorgeous colour really the methods of Monet applied to vast spaces or the blazing originality of Albert Besnard make more intimate appeal than the pallid poetry, solemn rhythms, and faded moonlit tonal gamut of Puvis.
He had twice passed our table, with a hesitating look; but Rothenstein, in the thick of a disquisition on Puvis de Chavannes, had not seen him. He was a stooping, shambling person, rather tall, very pale, with longish and brownish hair. He had a thin, vague beard, or, rather, he had a chin on which a large number of hairs weakly curled and clustered to cover its retreat.
Unsigned and unrecognized works by modern masters have been rejected by juries to whom in haste the doors of the Salon or Society have been reopened with apologies. The nation which assumes the highest degree of aesthetic perception turned its back on Millet and Corot and Courbet and Manet and Puvis de Chavannes, rejecting their best, and has honored yesterday what it spurns to-day.
It has taken long years before such works were entrusted to Besnard, who, with Puvis de Chavannes, has given Paris her most beautiful modern decorations, but Besnard's work is the direct outcome of Claude Monet's harmonies. The principle of the division of tones and of the study of complementary colours has been full of revelations, and one of the most fruitful theories.
Artists may come who will portray the marvel of the wires that quiver with electrified words, and the romance of the switchboards that tremble with the secrets of a great city. Already Puvis de Chavannes, by one of his superb panels in the Boston Library, has admitted the telephone and the telegraph to the world of art.
Pupil of A. Roll, Benjamin Constant, Puvis de Chavannes, and Dagnaux. Mme. Marlef is a portrait painter. Her picture, "Manette Salomon," is in the Hotel de Ville, Paris; the "Nymphe Accroupie" is in the Municipal Museum of Nantes.
But the serpent of futile melancholy, of the brief cadence of mortal dreams, and of the vanishing seconds that defile down the corridor of time, has stolen into this Garden of the Hesperides. Puvis de Chavannes, no more than Gustave Moreau, could escape the inquietude of his times. He is occasionally Parisian and often pessimist.
Now it looks like a Puvis de Chavannes not my picture, but that hillside, that large space of blue sky and the wood-cutters. 'It does a little. Are you going on with it? 'Why? 'Because there is no shade for me to sit in. I shall be roasted if we remain here. 'What shall we do? Lie down in some shady place? 'We might do that.... I know what I should like. 'What?
In Puvis de Chavannes they appear in a wholly novel combination; his classicism is absolutely unacademic, his romanticism unreal beyond the verge of mysticism, and so preoccupied with visions that he may almost be called a man for whom the actual world does not exist in the converse of Gautier's phrase. His distinction is wholly personal.
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