Vietnam or Thailand ? Vote for the TOP Country of the Week !
When Luminais paints a scene from Gaulish legend, he is not quite, but nearly, as careful to make it pictorially real as he is to have it dramatically effective. M. François Flameng, expanding his book illustration into a mammoth canvas commemorative of the Vendean insurrection, is almost daintily fastidious about the naturalistic aspect of his abundant detail.
Comparison is interesting for the difference in touch, though both were painted in the same year. Francois Flameng is represented here by "Paris" , not so compelling as his "Madame Letellier" , and "Fete Venetienne" , in Rooms 18 and 14.
"How do you know I do?" "You like Detaille particularly." "Am I to defend my taste? what's the answer, if you don't mind?" "Detaille is much to my liking, also; but I prefer Flameng, as a strictly personal matter. That was a wonderful collection of military and battle pictures shown in Paris last winter." She half withdrew her hand from his arm, and turned away.
Resignation of post on the "Saturday Review." Nervous seizure in railway train. Mrs. Craik. Publication of "Etching and Etchers." Tennyson. Growing reputation in America. In the course of the years 1865-67 Mr. Hamerton had made the acquaintance of several leading French artists, Dore, Corot, Daubigny, Courbet, Landelle, Lalanne, Rajon, Brunet-Debaines, Flameng, Jacquemart, etc.
Vicat Cole, Mr. Alma Tadema, Sir G. Reid, Mr. W. E. Lockhart, Mr. J. MacWhirter, Professor Legros, M. Paul Rajon, M. Leopold Flameng, etc. The testimonials are too numerous to be given here, but they all agreed in the expressed opinion that Mr. Hamerton would be "the right man in the right place," or "the very man."
F. G. Stephens contributed articles. In the third year a series of "Examples of Modern Etching" was made the chief feature. It included plates by M. L. Flameng, Sir F. Seymour Haden, M. Legros, M. Bracquemond, M. Lalanne, M. Rajon, M. Veyrassat, and Mr. S. Palmer.
My husband was much interested by this visit, and repeated it shortly after in the company of M. and Mme. Manesse, M. and Mme. L. Flameng, M. Pelletier acting as cicerone. It being the season of the Epiphany, our niece had the traditional cake served on the tea-table, and the royal honors fell to the lot of her uncle.
He tells us that in 1862 he went to Paris, after much preliminary skirmishing in Belgian reviews and magazines, to "learn his art" with Bracquemond and Jacquemart, both of whom he never ceased praising. He was associated with Daubigny, painter and etcher, and with Courbet, Flameng, and Thérond. He admired Calmatta and his school Bal, Franck, Biot, Meunier, Flameng.
About half the etchings in the volume before us are reproductions of pictures in that collection. M. Flameng has forgotten all the perplexities and intricacies of the nineteenth century to render the placid graciousness of a beauty whose portrait was painted in the eighteenth by Drouais.
M. Flameng looked very happy; he was in full success, very industrious, and fond of his art; married to a devoted wife of simple tastes, and already able to discern and foster in his son the artistic tendencies which have made him celebrated since. They were a very cheerful and united family. Two days after we had dejeuner with M. Rajon.
Word Of The Day