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CHARLES
Sculpture
and
W.
Theory
Century
FRENCH
NINETEENTH-CENTURY
SCulp-
MILLARD
in
Nineteenth
France
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16
CHARLES
W.
MILLARD
In sculpture it is a
6 In the purest
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17
1831 Gustave Planche noted more pointedly
of Pradier's ThreeGraces,
He is mistaken, like Canova, in following in the
composition a pictorial rather than a sculptural
idea. Now, in my opinion, this is a grave fault and
never goes without unfortunate results; it is never
without considerable detriment that one mistakes
the province of the instrument one uses. See, almost at the same time, the Italian sculptor paint
in marble and the head of the last French school,
David, sculpt on canvas. Both, for different reasons, merited the celebrity they acquired; both
worked with perseverance to regenerate the art
they professed. But the way on which they entered
was a false and excessive way; they being dead,
no one has progressed further in it.'3
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18
CHARLES
already the deserters of rhetoric crowd in his footsteps: disgusted with the geometric rigidity of the
sculpture of the Institute, he called them from the
routine of the professors to the imitation of nature,
and the simple and spirited inspiration that characterizes the work of M. Barye was too powerful
not to strike the eyes of the crowd vividly; consequently the impression has been universal and he
has had the rare privilege of preaching the truth
without his word having been contested hardly
at all.'7
that,
"Sculpture.
.. has
remained
W.
MILLARD
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19
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CHARLES
20
tions of Winckelmann have been noted by Pontus
Grate, Deux critiquesd'art de l'epoqueromantique:Gustave
Plancheet TheophileThore (Stockholm, 1959), p. 3.
4 Henry Jouin, Esthetiquedu sculpteur.This book is
composed of a series of essays written as introductions
to Jouin's Salon reviews beginning in 1873. Similar
ideas are expressed in Charles Blanc's Grammairedes
arts du dessin,which appeared as a book in 1867 after
having been published serially in the Gazettedes Beaux
Arts between 1860 and 1862.
6 Eugene Guillaume, Essais sur la theorie du dessin
(Paris, 1896), p. 35.
6 Paolo Emiliani-Giudici,
"Correspondence particuliere," Gazettedes Beaux-Arts, 1859, v. I, p. 242.
7 Guillaume, op. cit., p. 29.
8 The essential problem of bas-relief is to bring a
round thing out of a flat one and hence it is, like perspective painting, illusionistic. The forms of a relief
exist in front of a surface, either in front of what
becomes the background when the relief is carved
away, in direct carving, or in front of the surface with
which the artist begins, in wax and clay. In both
cases there is a surface analogous to a picture plane
through which forms break or in front of which they
extend. The point of reference, thus, is always planar.
9 For the academic viewpoint on sculptural materials cf. Henry Jouin, La sculptureau Salon de 1874.
This material was later reprinted in Jouin's Esthetique
du sculpteur.A more liberal examination of the same
subject is Eugene Guillaume's "L'art et la matiere:
le Salon de 1881," Atudesd'art antique et moderne,pp.
241-358.
'? Jouin, Esthetique,p. 131.
1 Ibid.,
pp. 130-131.
W.
MILLARD
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