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diff --git a/41835-h/41835-h.htm b/41835-h/41835-h.htm index d5ceb61..5f0ff77 100644 --- a/41835-h/41835-h.htm +++ b/41835-h/41835-h.htm @@ -2,7 +2,7 @@ "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> - <meta http-equiv="Content-Type" content="text/html;charset=iso-8859-1" /> + <meta http-equiv="Content-Type" content="text/html;charset=UTF-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg eBook of Puvis de Chavannes, by M. Henry Roujon. @@ -249,48 +249,7 @@ i.oeuvre {font-style: italic;} </style> </head> <body> - - -<pre> - -The Project Gutenberg EBook of Puvis de Chavannes, by Francois Crastre - -This eBook is for the use of anyone anywhere at no cost and with -almost no restrictions whatsoever. You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org - - -Title: Puvis de Chavannes - Masterpieces in Colour Series - -Author: Francois Crastre - -Editor: Henry Roujon - -Release Date: January 13, 2013 [EBook #41835] - -Language: English - -Character set encoding: ISO-8859-1 - -*** START OF THIS PROJECT GUTENBERG EBOOK PUVIS DE CHAVANNES *** - - - - -Produced by sp1nd, Charlie Howard, and the Online -Distributed Proofreading Team at http://www.pgdp.net (This -file was produced from images generously made available -by The Internet Archive) - - - - - - -</pre> - +<div>*** START OF THE PROJECT GUTENBERG EBOOK 41835 ***</div> <div class="transnote"> <p class="in0 center">Transcriber's Note:</p> @@ -336,7 +295,7 @@ higher-quality format.</p> <tr><td class="tdl">FRA ANGELICO</td><td class="tdl nopadright">CONSTABLE</td></tr> <tr><td class="tdl">ROSSETTI</td><td class="tdl nopadright">MEMLING</td></tr> <tr><td class="tdl">RAPHAEL</td><td class="tdl nopadright">FRAGONARD</td></tr> -<tr><td class="tdl">LEIGHTON</td><td class="tdl nopadright">DÜRER</td></tr> +<tr><td class="tdl">LEIGHTON</td><td class="tdl nopadright">DÃœRER</td></tr> <tr><td class="tdl">HOLMAN HUNT</td><td class="tdl nopadright">LAWRENCE</td></tr> <tr><td class="tdl">TITIAN</td><td class="tdl nopadright">HOGARTH</td></tr> <tr><td class="tdl">MILLAIS</td><td class="tdl nopadright">WATTEAU</td></tr> @@ -365,7 +324,7 @@ higher-quality format.</p> <div class="caption p4" id="PLATE_I">PLATE I.—SAINT GENEVIEVE KEEPING WATCH OVER SLEEPING PARIS. Frontispiece<br /> -<p class="in0 center padhalf">(In the Panthéon, Paris)</p> +<p class="in0 center padhalf">(In the Panthéon, Paris)</p> <p>This composition, so great in its simplicity and so beautiful in execution, is the last work of the great artist. The model who @@ -400,9 +359,9 @@ FREDERICK A. STOKES COMPANY</div> <img src="images/i_007.jpg" width="200" height="55" alt="publisher's logo April 1912" /> </div></div> -<div class="p4 center small clear">THE·PLIMPTON·PRESS<br /> -[W·D·O]<br /> -NORWOOD·MASS·U·S·A +<div class="p4 center small clear">THE·PLIMPTON·PRESS<br /> +[W·D·O]<br /> +NORWOOD·MASS·U·S·A </div> <hr /> @@ -433,14 +392,14 @@ NORWOOD·MASS·U·S·A <table summary="List of Illustrations"> <tr class="smaller"><td class="tdc">Plate</td></tr> <tr><td class="tdn">I.</td><td class="tdl"><a href="#PLATE_I">Saint Genevieve keeping Watch over sleeping Paris</a></td><td class="tdr">Frontispiece</td></tr> -<tr><td class="tdn"> </td><td class="tdl in smaller">In the Panthéon, Paris</td></tr> +<tr><td class="tdn"> </td><td class="tdl in smaller">In the Panthéon, Paris</td></tr> <tr class="smaller"><td class="tdn"> </td><td class="tdl in smaller"> </td><td class="tdr">Page</td></tr> <tr class="taller"><td> </td></tr> <tr><td class="tdn">II.</td><td class="tdl"><a href="#PLATE_II">The Piety of Saint Genevieve</a></td><td class="tdr">14</td></tr> -<tr><td class="tdn"> </td><td class="tdl in smaller">In the Panthéon, Paris</td></tr> +<tr><td class="tdn"> </td><td class="tdl in smaller">In the Panthéon, Paris</td></tr> <tr class="taller"><td> </td></tr> <tr><td class="tdn">III.</td><td class="tdl"><a href="#PLATE_III">The Poor Fisherman</a></td><td class="tdr">24</td></tr> -<tr><td class="tdn"> </td><td class="tdl in smaller">In the Musée de Luxembourg, Paris</td></tr> +<tr><td class="tdn"> </td><td class="tdl in smaller">In the Musée de Luxembourg, Paris</td></tr> <tr class="taller"><td> </td></tr> <tr><td class="tdn">IV.</td><td class="tdl"><a href="#PLATE_IV">Ludus pro Patria</a></td><td class="tdr">34</td></tr> <tr><td class="tdn"> </td><td class="tdl in smaller">In the Museum, Amiens</td></tr> @@ -510,7 +469,7 @@ most violent detractors.</p> <div class="figcenter"> <div class="caption p4" id="PLATE_II">PLATE II.—THE PIETY OF SAINT GENEVIEVE<br /> -<p class="in0 center padhalf">(In the Panthéon, Paris)</p> +<p class="in0 center padhalf">(In the Panthéon, Paris)</p> <p>In this composition, exceptionally fine in feeling, Puvis de Chavannes shows how much importance he attached to landscape, @@ -563,14 +522,14 @@ old Burgundian families. His father pursued the vocation of chief engineer of mines, at Lyons. In the registry of births, in which the new-born child was entered, the father is designated simply by the -name of Marie-Julien-César Puvis. The honourable +name of Marie-Julien-César Puvis. The honourable title of "de Chavannes," claimed later and with<span class="pagenum"><a name="Page_17" id="Page_17">[17]</a></span> good right by the family, was confirmed to him by a decree of the Court of Lyons, bearing date of May 20, 1859.</p> <p>Young Puvis de Chavannes was sent, first to -the Lycée at Lyons, later to the Lycée Henri IV, +the Lycée at Lyons, later to the Lycée Henri IV, at Paris. But nothing either in the boy's tastes or in his aptitudes gave any hint of his future vocation; he showed no special inclination for drawing, nor @@ -702,8 +661,8 @@ to apply his robust health to incessant work, which he pursued without intermission up to the day of his death.</p> -<p>In 1850, Puvis de Chavannes made his début -by sending to the Salon a <i class="oeuvre">Pietà</i>, which was +<p>In 1850, Puvis de Chavannes made his début +by sending to the Salon a <i class="oeuvre">Pietà </i>, which was accepted. His joy was great, for it was the joy of the first step. Later on, his satisfaction in that picture diminished. It had certain defects, and @@ -716,7 +675,7 @@ violent in tone.</p> <div class="figcenter"> <div class="caption p4" id="PLATE_III">PLATE III.—THE POOR FISHERMAN<br /> -<p class="in0 center padhalf">(In the Musée de Luxembourg, Paris)</p> +<p class="in0 center padhalf">(In the Musée de Luxembourg, Paris)</p> <p>No one else, excepting Millet, had the skill to render with so much truth the physical and moral distress of the unfortunate. @@ -734,7 +693,7 @@ was officially and systematically repressed. The<span class="pagenum"><a name="P young artist was not alone in disfavour; he shared it with a number of his friends, some of whom were already famous, or at least well known. -Equally with himself, Courbet, Dupré, Barye, +Equally with himself, Courbet, Dupré, Barye, Rousseau, Millet, Troyon, Corot, Diaz and Delacroix found themselves ejected from the doors of the temple. In the eyes of the Academy, they @@ -757,13 +716,13 @@ admirably caught in his buste of the painter. As it happened, however, Puvis de Chavannes was rarely fortunate in having the encouragement and<span class="pagenum"><a name="Page_26" id="Page_26">[26]</a></span> support of such an admirable companion as the -Princess Cantacuzène. That splendid woman, of +Princess Cantacuzène. That splendid woman, of exceptional intelligence and distinction, enjoyed art and understood it; she fell in love with Puvis de Chavannes and became his wife. "Whatever I am and whatever I have done," wrote the painter, "is all due to her." Throughout more than forty -years, she filled the rôle of beneficent genius to +years, she filled the rôle of beneficent genius to the artist, the Egeria whose voice he never failed to heed. Puvis de Chavannes had worshipped faithfully at her shrine; and when she died, he @@ -1091,7 +1050,7 @@ of comparison for determining the evolution of the artist's talent.</p></div> <p>However, the resources of the municipality did not permit it to incur so great an expense. It appealed to the State, which curtly refused its -coöperation. The city fathers of Amiens were +coöperation. The city fathers of Amiens were in despair, the painter not less so. What was to be done? Wait until the municipality, through slow economies, was in a position to order the @@ -1171,7 +1130,7 @@ girls grouped on the left, awaiting the advent of husbands. The children, grown to manhood, will practise games of strength and skill which will render them capable of defending their common -patrimony. The old man himself has his rôle +patrimony. The old man himself has his rôle assigned in this ideal commonwealth; ripened by experience of life, he supplements the feebleness of his arms by the wisdom of his lessons; @@ -1353,7 +1312,7 @@ days.</p> <p>Puvis de Chavannes has magnificently rendered the poetic beauty of this historic episode by -representing one of the fêtes given by Radegonde +representing one of the fêtes given by Radegonde in the Convent of the Holy Cross.</p> <p>In the second panel, we see Charles Martel @@ -1383,20 +1342,20 @@ jesters."</p> <p>In the days following the Franco-Prussian War and the Commune, the Government conceived -the project of decorating the Panthéon, +the project of decorating the Panthéon, which had just been once more secularized, in order to convert it into a temple wherein all the shining lights of the nation could be brought together and honoured.</p> -<p>M. de Chennevières, who at that time was +<p>M. de Chennevières, who at that time was director of the Beaux Arts gave the first place, in that illustrious line, to the noble and serene Genevieve, patron saint of Paris, incarnate ideal of patriotism.</p> <p>Accordingly it was a series of religious paintings -that M. de Chennevières required of Puvis +that M. de Chennevières required of Puvis de Chavannes, when he entrusted him with a large share of the decoration.</p> @@ -1406,7 +1365,7 @@ had too much patriotic fire, more than enough Christian faith, and above all too thorough a mastery of his profession not to approach this task with full confidence. It is enough to visit -the Panthéon just once in order to be convinced +the Panthéon just once in order to be convinced of this. A more magnificent realization of Saint Genevieve could not be conceived of, even in dreams. But are these paintings to @@ -1463,8 +1422,8 @@ keeps watch over sleeping Paris."</p> of the great artist. A sort of premonition told him that the end was near, in spite of his robust health. "How I shall devote myself -to the Panthéon," he wrote, "when I am finished -with the Hôtel de Ville! I intend it to be +to the Panthéon," he wrote, "when I am finished +with the Hôtel de Ville! I intend it to be a sort of last will and testament."</p> <p>In these last paintings, Saint Genevieve is @@ -1493,7 +1452,7 @@ portrait of her who had been the consolation and the joy of his whole existence.</p> <p>The unfortunate woman lacked the strength to -play her rôle to the end; she was forced to take to +play her rôle to the end; she was forced to take to her bed. The artist, no less heroic than she, feeling that his own life was slipping away with hers, yet wishing to complete this last work,—his @@ -1502,7 +1461,7 @@ woman's bed, and there finished the sketches for his picture.</p> <p>In the intervals of time between the paintings -executed for the Panthéon, Puvis de Chavannes +executed for the Panthéon, Puvis de Chavannes produced certain other large compositions in no wise inferior either in importance or in merit, notably, in 1883, a large painting for the Palace of @@ -1565,12 +1524,12 @@ lines.</p> <p>In the same Palace of Arts, Puvis de Chavannes painted two additional allegorical panels -representing <i class="oeuvre">The Rhone and The Saône</i>, both of +representing <i class="oeuvre">The Rhone and The Saône</i>, both of which are admirably effective.</p> <p>To about the same period belongs his well known painting, <i class="oeuvre">The Poor Fisherman</i>, at present -in the Musée du Luxembourg.</p> +in the Musée du Luxembourg.</p> <p>In this work, which he painted as a relaxation from his more extensive efforts, Puvis de Chavannes @@ -1582,7 +1541,7 @@ This work is a fine and eloquent lesson in humanity.</p> <p><span class="pagenum"><a name="Page_62" id="Page_62">[62]</a></span> -In 1889, the Hôtel de Ville, in Paris, proceeding +In 1889, the Hôtel de Ville, in Paris, proceeding with the still unfinished decoration of its numerous halls and chambers, entrusted Puvis de Chavannes with the task of decorating the @@ -1618,7 +1577,7 @@ two magnificent pictures are placed suffers from a deplorable want of light, and its scanty dimensions make it impossible to stand back at a sufficient distance to see them to advantage. -The Hôtel de Ville should for its +The Hôtel de Ville should for its own credit assign them a place more in keeping with their worth.</p> @@ -1763,7 +1722,7 @@ figures.</p> <p class="in0 center padhalf">(In the Museum, Amiens)</p> <p>This work dates from the same period as <i class="oeuvre">Repose</i> and <i class="oeuvre">Peace</i>. It marks -the début of Puvis de Chavannes in his career as an artist. In +the début of Puvis de Chavannes in his career as an artist. In spite of some reminiscences of his training, his individuality already asserts itself, and the originality of composition is unmistakable.</p></div> <a href="images/i_077l.jpg"> @@ -1846,14 +1805,14 @@ PUVIS DE CHAVANNES</a></h2> <blockquote> -<p class="hang">Musée du Luxembourg; <i class="oeuvre">The Poor Fisherman</i>.</p> +<p class="hang">Musée du Luxembourg; <i class="oeuvre">The Poor Fisherman</i>.</p> -<p class="hang">Panthéon; <i class="oeuvre">Saint Genevieve marked with the divine seal</i>.—<i class="oeuvre">The Piety of Saint Genevieve.</i>—<i class="oeuvre">Saint +<p class="hang">Panthéon; <i class="oeuvre">Saint Genevieve marked with the divine seal</i>.—<i class="oeuvre">The Piety of Saint Genevieve.</i>—<i class="oeuvre">Saint Genevieve providing for besieged Paris.</i>—<i class="oeuvre">Saint Genevieve watching over sleeping Paris.</i>—Two decorative Friezes, including <i class="oeuvre">Faith, Hope, and Charity</i>, and a series of <i class="oeuvre">Saints</i>.</p> -<p class="hang">Hôtel de Ville; <i class="oeuvre">Summer, Winter</i>.—<i class="oeuvre">Victor Hugo offering his lyre to the city of Paris.</i></p> +<p class="hang">Hôtel de Ville; <i class="oeuvre">Summer, Winter</i>.—<i class="oeuvre">Victor Hugo offering his lyre to the city of Paris.</i></p> <p class="hang">Amphitheatre of the Sorbonne; <i class="oeuvre">Letters, Sciences and Arts</i>.</p> @@ -1868,7 +1827,7 @@ of the Orient.</i></p> <p class="hang">Museum at Marseilles: <i class="oeuvre">The Return from the Hunt</i>.</p> -<p class="hang">Hôtel de Ville, Poitiers: <i class="oeuvre">Saint Radegonde gives asylum to the Poets</i>.—<i class="oeuvre">Charles Martel +<p class="hang">Hôtel de Ville, Poitiers: <i class="oeuvre">Saint Radegonde gives asylum to the Poets</i>.—<i class="oeuvre">Charles Martel re-enters Poitiers after his conquest of the Saracens.</i></p> <p class="hang">Palace of Fine Arts, Lyons: <i class="oeuvre">The Sacred Wood dear to the Arts and the Muses</i>.</p> @@ -1893,382 +1852,6 @@ re-enters Poitiers after his conquest of the Saracens.</i></p> preference was found in this book; otherwise they were not changed.</p> </div> - - - - - - - -<pre> - - - - - -End of the Project Gutenberg EBook of Puvis de Chavannes, by Francois Crastre - -*** END OF THIS PROJECT GUTENBERG EBOOK PUVIS DE CHAVANNES *** - -***** This file should be named 41835-h.htm or 41835-h.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/4/1/8/3/41835/ - -Produced by sp1nd, Charlie Howard, and the Online -Distributed Proofreading Team at http://www.pgdp.net (This -file was produced from images generously made available -by The Internet Archive) - - -Updated editions will replace the previous one--the old editions -will be renamed. - -Creating the works from public domain print editions means that no -one owns a United States copyright in these works, so the Foundation -(and you!) can copy and distribute it in the United States without -permission and without paying copyright royalties. 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