No one could have come so
closely into contact with that vigorous individuality without in some
degree undergoing its impress, without learning to look for the alert
and elegant aspects of his model, whatever it might be. But with
Carpeaux's distinction Dalou has more poise. He is considerably farther
away from the rococo. His ideal is equally to be summarized in the word
Life, but he cares more for its essence, so to speak, than for its
phenomena, or at all events manages to make it felt rather than seen.
One perceives that humanity interests him on the moral side, that he is
interested in its significance as well as its form. Accordingly with him
the movement illustrates the form, which is in its turn truly
expressive, whereas occasionally, so bitter was his disgust with the
pedantry of the schools, with Carpeaux the form is used to exhibit
movement. Then, too, M. Dalou has a certain nobility which Carpeaux's
vivacity is a shade too animated to reach. Motive and treatment blend in
a larger sweep. The graver substance follows the planes and lines of a
statelier if less brilliant style.
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