M. Rodin's work, especially,
is so novel that one's first impression in its presence is of its
implied criticism of the Institute. One thinks first of its attitude,
its point of view, its end, aim, and means, and of the utter contrast of
these with those of the accepted contemporary masters in his art--of
Dubois and Chapu, Mercie and Saint-Marceaux. One judges generally, and
instinctively avoids personal and direct impressions. The first thought
is not, Are the "Saint Jean" and the "Bourgeois de Calais" successful
works of art? But, _Can_ they be successful if the accepted masterpieces
of modern sculpture are not to be set down as insipid? One is a little
bewildered. It is easy to see and to estimate the admirable traits and
the shortcomings of M. Dubois's delightful and impressive reminiscences
of the Renaissance, of M. Mercie's refined and graceful compositions.
They are of their time and place. They embody, in distinguished manner
and in an accentuated degree, the general inspiration. Their spiritual
characteristics are traditional and universal, and technically, without
perhaps often passing beyond it, they exhaust cleverness.
Pages:
214
215
216
217
218
219
220
221
222
223
224
225
226
227
228
229
230
231
232
233
234
235
236
237
238