قراءة كتاب Puvis de Chavannes

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Puvis de Chavannes

Puvis de Chavannes

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دار النشر: Project Gutenberg
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Puvis
de Chavannes

ILLUSTRATED WITH EIGHT
REPRODUCTIONS IN COLOUR
IN SEMPITERNUM.
NEW YORK: FREDERICK A. STOKES CO.
COPYRIGHT, 1912, BY
FREDERICK A. STOKES COMPANY
publisher's logo April 1912
THE·PLIMPTON·PRESS
[W·D·O]
NORWOOD·MASS·U·S·A

CONTENTS

  Page
Introduction 11
 
The First Years 16
 
The Glorious Years 31
 
The Last Years 53
 
The Landscape Painter 66

LIST OF ILLUSTRATIONS

Plate
I. Saint Genevieve keeping Watch over sleeping Paris Frontispiece
  In the Panthéon, Paris
    Page
 
II. The Piety of Saint Genevieve 14
  In the Panthéon, Paris
 
III. The Poor Fisherman 24
  In the Musée de Luxembourg, Paris
 
IV. Ludus pro Patria 34
  In the Museum, Amiens
 
V. Repose 40
  In the Museum, Amiens
 
VI. The Sacred Wood dear to the Arts and the Muses 50
  In the Museum, Amiens
 
VII. Letters, Sciences, and Arts 60
  In the Amphitheatre of the Sorbonne
 
VIII. War 70
  In the Museum, Amiens

line drawing of Puvis de Chavannes

INTRODUCTION

GLORY does not dispense her favours to the deserving with an equal bounty. Painters as well as authors often suffer from the caprices of the inconstant goddess. While there are some who, guided by her benevolent hand, attain the pinnacle of fortune at the first attempt and almost without effort, other artists with a genius akin to that of Millet live in a state bordering upon penury and die in destitution. Renown seeks them out later, much too late, and tardy laurels flower only upon their tomb.

Puvis de Chavannes for a long time fared scarcely better than these illustrious mendicants of art. He experienced the bitter pangs of injustice, the hostility of ignorance, the discouragement of finding himself misunderstood. If he was spared the extreme distress of Millet, it was solely because he was the more fortunate of the two in possessing a small private income. But nothing can crush the spirit of the born artist; neither contempt nor ridicule can hold him back. Puvis de Chavannes was endowed with a valiant and a tenacious spirit. Entrenched within the loftiness of his artistic ideal, as within a tower of bronze, he was steadfastly scornful of critics, affecting not to hear them; and never would he consent to disarm them by concessions that in his eyes would have seemed dishonourable. Yet this rare probity brought its own reward. The great painter attained the joy of seeing himself at last understood, and not only understood but admired during his life-time. He must even have derived an ironic satisfaction from counting among his warmest adherents certain ones who had formerly been conspicuous as his most violent

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