But his manner is the modern manner, and it is altogether
more effective, more "fetching," to use a modern term, than anything
purely academic can be. Elie Delaunay, another master of decoration, is,
on the other hand, as real as the most rigorous literalist could ask of
a painter of decorative works. Chartran, who has an individual charm
that both Baudry and Delaunay lack, inferior as he is to them in sweep
and power, is perhaps in this respect midway between the two. Clairin
is, like Mazerolles, a pure _fantaisiste_. Dubufe _fils_, whose at
least equally famous father ranks in a somewhat similar category with
Couture, shows a distinct advance upon him in reality of rendering, as
the term would be understood at present.
In other departments of painting the note of realism is naturally still
more universally apparent; but as in the work of the painters of
decoration it is often most noticeable as an undertone, indicating a
point of departure rather than an aim. Bonvin is a realist only as
Chardin, as Van der Meer of Delft, as Nicholas Maes were, before the
jargon of realism had been thought of.
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