was not long before he became anxious to find himself in front of a wall to paint; and
to begin the series he undertook to decorate the first-floor room of a restaurant in the Rue des Martyrs, called “La Biche, ”
known because of its antiquity (it was opened in 1630) and the excellence of its fare. Across the large panel is displayed the procession of Bacchus. Behind comes an ox-wagon, on which is enthroned a large and portly Lucullus. The opposite panel deals with hunting, fishing and country pleasures. A large side panel, into the composition of which the old sign: “A la Biche, ” in carved
wood, is fitted, displays a procession of little girls followed by the good King Henri IV. carrying his legendary poule au pot, and advancing towards a stout Monsieur le Maire, accompanied by his garde champêtre. The small panel opposite this, broken by a mirror, represents a tableful of replete diners, in an arbour.
We here seem far enough away from Mantegna and the School of Ferrara, But we must not forget that this series of compositions was a diversion for the artist, as well as a demonstration. He gave a loose to all his imaginative fantasies as the work progressed: it must be
recorded that M. Iacovleff never makes sketches, contenting himself with certain preparatory geometrical constructions, after which he works direct in full colour. At the Restaurant “La Biche” he began
by outlining the wheels of the carts on the wall with nails and thread, and then, to use his own expression, he set himself to play with the Leitmotif of gluttony by telling little stories on the wall. And they are multiplied in every corner, on all planes, even to the furthest points, these little stories — marked by a liveliness that is often malicious, but quite involuntary, M. Iacovleff assures us, from which we deduce that nature has endowed him with
MURAL DECORATION IN THE
RESTAURANT “LA BICHE” BY ALEXANDER IACOVLEFF
to begin the series he undertook to decorate the first-floor room of a restaurant in the Rue des Martyrs, called “La Biche, ”
known because of its antiquity (it was opened in 1630) and the excellence of its fare. Across the large panel is displayed the procession of Bacchus. Behind comes an ox-wagon, on which is enthroned a large and portly Lucullus. The opposite panel deals with hunting, fishing and country pleasures. A large side panel, into the composition of which the old sign: “A la Biche, ” in carved
wood, is fitted, displays a procession of little girls followed by the good King Henri IV. carrying his legendary poule au pot, and advancing towards a stout Monsieur le Maire, accompanied by his garde champêtre. The small panel opposite this, broken by a mirror, represents a tableful of replete diners, in an arbour.
We here seem far enough away from Mantegna and the School of Ferrara, But we must not forget that this series of compositions was a diversion for the artist, as well as a demonstration. He gave a loose to all his imaginative fantasies as the work progressed: it must be
recorded that M. Iacovleff never makes sketches, contenting himself with certain preparatory geometrical constructions, after which he works direct in full colour. At the Restaurant “La Biche” he began
by outlining the wheels of the carts on the wall with nails and thread, and then, to use his own expression, he set himself to play with the Leitmotif of gluttony by telling little stories on the wall. And they are multiplied in every corner, on all planes, even to the furthest points, these little stories — marked by a liveliness that is often malicious, but quite involuntary, M. Iacovleff assures us, from which we deduce that nature has endowed him with
MURAL DECORATION IN THE
RESTAURANT “LA BICHE” BY ALEXANDER IACOVLEFF