In sculpture, three other men held their own, Aube, with his immortal “Bailly, ” Rodin, with his “ Age of Brass, ” and Dalou, with his “Mirabeau” bas-relief. And they held it with high distinction.
In Barye’s life-time, lovers of fine bronzes made it a kind of pilgrimage when they went along the banks of the Seine to No. 4, Quai des Celestins. But they were rare lovers, and only a few bronzes were sold. He being dead, now since fifteen years, the pieces bring fabulous prices when (seldom) found.
It is a curious phase of art-history that even those who like fine bronzes learn little by experience. With the unexplainable exception of the large sale of the reduced “ Joan of Arc, ” few purchasers find their way to Frémiet’s collection in the Rue Béranger, No. 7. Yet they are ready to be bought, and now is the time. No one doubts that after their author leaves the scene that he has so long ennobled, his bronzes will pass through the same experience as those of his great contemporary. More curious still is this indifference, when it is remembered that Frémiet is the only living master who is personally concerned in the production of his little masterpieces. Paris auctioneers, in selling poor bronzes, try to give value to them, by saying that they are in the style of Barye and Frémiet. Thus is trade touched by art.
When the Spanish bull-fighters came to Paris, during the great exhibition of 1889, they brought with them various kinds of horses, among which was one that Frémiet had never seen in the flesh, though often indicated in various illustrations. It excited his interest, and he made one, life-size, placing upon it as a rider, the great painter, Velasquez. This equestrian work was sent to the Salon of 1890. The great popular procession in favor of the sculptor was now perfectly formed and in inarching order, it only remained to make the noise whenever occasion required. That made over the “Velasquez” could hardly be exceeded. If ever known and unknown merits were found in an equestrian statue it was then and there exposed to millions of readers. The press rang their loudest changes. “ He has surpassed himself on this occasion. His ‘Velasquez ’ has the nobility and pride of style of a hero. One has nothing to do but to bow down to it. ” “I don’t know why, but Frémiet is always classed among the animaliers, yet he sends this year a ʼVelasquez’ on horseback of superb line, and of high elegance. It is superfluous to praise M. Frémiet. ” “ The best thing in the Salon. ” “Proud and majestic. Excellent statue of heroic character. ” “Grand art, patiently studied, great in expression, and of beautiful style. ” “ This knight of noble mien is like a fore
runner of painting, and ought to be set up in the most beautiful alley of the garden of the Tuileries, in front of the Louvre, as though he came to announce to Paris the prodigious cortege of the glorious masters of all times. ”
M. A. Michel, in the Debats, wrote as follows — after alluding to the monotonous similarity of statues of artists — “M. Frémiet is not in the habit of running his statues in ready-made moulds. A pupil of Rude, he learned, in the school of that master, to ʼrender nature in its variety. ’ Freed, more than any one, from every servitude of formula, and of transmitted style, he has, with a valiant curiosity and a beautiful audacity, pushed his researches and labors in the most diverse ways. With an always original sentiment, an ample interpretation, a sincerity of accent and a bravery that no danger intimidates, he has brought to life one after another, in bronze and marble, the ‘ Gorilla, ’ the ‘Troglodyte’ in his unchained beastliness, the ‘ Virgin of Orleans, ’ the ‘ Age of Stone, ’ good and happy brute, and his lordship, the ‘ Prince of Condé; ’ he has lifted up with a superior intelligence and surprising ease, the elementary forms of life to the highest historic style.
“He did not think that in order to glorify the grand, noble and proud Diego Rodriguez de Sylva y Velasquez, it was enough to place
him sitting in a chair, palette in hand, but he has evoked him in the semblance of a Roman knight. ” Then follows a minute description of the painter’s costume, the article closing in these words, “ It is thus, with his mahl-stick entwined with a branch of laurel, probably, that he appeared in his quality of Aposentador Mayor, as he preceded the royal cortege as it entered Fontarabic, to make preparations for the interview between Philip IV and Louis XIV. ”
“ What will you do with the Velasquez? ” I asked the sculptor.
“ I hope to sell it to the State, but as that is very doubtful I shall be obliged to cut off V’s head and put on that of some one else, in order to get rid of it. I only ask its actual cost. It is the best statue, after ‘Joan of Arc, ’ that I have made. ”
The contrast presented between the little tale about this statue, and the closing sentence uttered by its author, is an excellent illustration of the impotence of the French press to influence the government authorities in matters of art. And it may be added, that, quite contrary to what many believe, there is no such thing in Paris or France as a defined and controlling influence in favor of first-class art. Nor is there in Paris a single specimen of such art that has not had to go through the crucible of public indifference and hatred, and if saved at all, saved only by the fortunate influence of some single individual.
“ A hot word may bring on a revolution, and a sarcastic one change the course of national events. ” — Old French Proverb.
In July, 1889, there was erected with considerable ceremony, a colossal equestrian statue of Etienne Marcel, one of the early mayors of Paris, on the Seine side of the Hotel de Ville. It was the result of a public competition, held some years previous, in which Frémiet took part. The whole history of this statue is quite as interesting, though not quite as lively as that part which immediately concerned our sculptor, but it must be omitted. There were four competitors for this statue, Frémiet, Aube, Idrac and another, and a committee of artists, of whom the late M. Schœnewerk, sculptor, was one, was to decide upon the merits of the models. The sketches, which were half life-size, in plaster, were exposed in one of the large rooms of the abovementioned building. Aube’s sketch was a very beautiful one, Frémiet’s much the best, and the other two common-place. Frémiet’s appeared as it came from its mould, a simple effect of plaster, but of large style in line and mass. Idrac’s presented all the surface allurements that is known to the ingenious and picturesque-loving French worker in plaster: deftly colored in various attractive tints, lights and shadows displayed with the most striking and brilliant care, and all richly heightened with shining gold. As Schœnewerk entered the room, he exclaimed, in a tone and manner that carried appropriate force to his words, “ Ah! that one, ” pointing to Fremiet’s, “ looks like the valet of this one, ” as he turned to that of Idrac. The latter’s model was selected. It is not too much to say that this disgracefully flippant observation lost to Paris, France and the world a great equestrian statue, and got instead a very poor one. The second prize was awarded to the author of the “ Valet, ” and six hundred dollars given for his model, which may be seen in the museum of sketches and models belonging to the City of Paris.
This chronological account of the sculptor’s productions by no means includes the scores of small works that form a great part of his collection, many which have never been reproduced. The history of some of them is as interesting as the things themselves. Soon after the great fire in Chicago, the French artists made a contribution of an example of one or two of their works for the benefit of the sufferers, to be disposed of by lottery, but as it was thought that more money could be realized by selling them at auction, the last plan was carried out. If I remember aright the amount thus obtained was thirty thousand dollars, and I also have the impression
ˮGorilla and Woman. ˮ Fremiet, Sculptor.
In Barye’s life-time, lovers of fine bronzes made it a kind of pilgrimage when they went along the banks of the Seine to No. 4, Quai des Celestins. But they were rare lovers, and only a few bronzes were sold. He being dead, now since fifteen years, the pieces bring fabulous prices when (seldom) found.
It is a curious phase of art-history that even those who like fine bronzes learn little by experience. With the unexplainable exception of the large sale of the reduced “ Joan of Arc, ” few purchasers find their way to Frémiet’s collection in the Rue Béranger, No. 7. Yet they are ready to be bought, and now is the time. No one doubts that after their author leaves the scene that he has so long ennobled, his bronzes will pass through the same experience as those of his great contemporary. More curious still is this indifference, when it is remembered that Frémiet is the only living master who is personally concerned in the production of his little masterpieces. Paris auctioneers, in selling poor bronzes, try to give value to them, by saying that they are in the style of Barye and Frémiet. Thus is trade touched by art.
When the Spanish bull-fighters came to Paris, during the great exhibition of 1889, they brought with them various kinds of horses, among which was one that Frémiet had never seen in the flesh, though often indicated in various illustrations. It excited his interest, and he made one, life-size, placing upon it as a rider, the great painter, Velasquez. This equestrian work was sent to the Salon of 1890. The great popular procession in favor of the sculptor was now perfectly formed and in inarching order, it only remained to make the noise whenever occasion required. That made over the “Velasquez” could hardly be exceeded. If ever known and unknown merits were found in an equestrian statue it was then and there exposed to millions of readers. The press rang their loudest changes. “ He has surpassed himself on this occasion. His ‘Velasquez ’ has the nobility and pride of style of a hero. One has nothing to do but to bow down to it. ” “I don’t know why, but Frémiet is always classed among the animaliers, yet he sends this year a ʼVelasquez’ on horseback of superb line, and of high elegance. It is superfluous to praise M. Frémiet. ” “ The best thing in the Salon. ” “Proud and majestic. Excellent statue of heroic character. ” “Grand art, patiently studied, great in expression, and of beautiful style. ” “ This knight of noble mien is like a fore
runner of painting, and ought to be set up in the most beautiful alley of the garden of the Tuileries, in front of the Louvre, as though he came to announce to Paris the prodigious cortege of the glorious masters of all times. ”
M. A. Michel, in the Debats, wrote as follows — after alluding to the monotonous similarity of statues of artists — “M. Frémiet is not in the habit of running his statues in ready-made moulds. A pupil of Rude, he learned, in the school of that master, to ʼrender nature in its variety. ’ Freed, more than any one, from every servitude of formula, and of transmitted style, he has, with a valiant curiosity and a beautiful audacity, pushed his researches and labors in the most diverse ways. With an always original sentiment, an ample interpretation, a sincerity of accent and a bravery that no danger intimidates, he has brought to life one after another, in bronze and marble, the ‘ Gorilla, ’ the ‘Troglodyte’ in his unchained beastliness, the ‘ Virgin of Orleans, ’ the ‘ Age of Stone, ’ good and happy brute, and his lordship, the ‘ Prince of Condé; ’ he has lifted up with a superior intelligence and surprising ease, the elementary forms of life to the highest historic style.
“He did not think that in order to glorify the grand, noble and proud Diego Rodriguez de Sylva y Velasquez, it was enough to place
him sitting in a chair, palette in hand, but he has evoked him in the semblance of a Roman knight. ” Then follows a minute description of the painter’s costume, the article closing in these words, “ It is thus, with his mahl-stick entwined with a branch of laurel, probably, that he appeared in his quality of Aposentador Mayor, as he preceded the royal cortege as it entered Fontarabic, to make preparations for the interview between Philip IV and Louis XIV. ”
“ What will you do with the Velasquez? ” I asked the sculptor.
“ I hope to sell it to the State, but as that is very doubtful I shall be obliged to cut off V’s head and put on that of some one else, in order to get rid of it. I only ask its actual cost. It is the best statue, after ‘Joan of Arc, ’ that I have made. ”
The contrast presented between the little tale about this statue, and the closing sentence uttered by its author, is an excellent illustration of the impotence of the French press to influence the government authorities in matters of art. And it may be added, that, quite contrary to what many believe, there is no such thing in Paris or France as a defined and controlling influence in favor of first-class art. Nor is there in Paris a single specimen of such art that has not had to go through the crucible of public indifference and hatred, and if saved at all, saved only by the fortunate influence of some single individual.
“ A hot word may bring on a revolution, and a sarcastic one change the course of national events. ” — Old French Proverb.
In July, 1889, there was erected with considerable ceremony, a colossal equestrian statue of Etienne Marcel, one of the early mayors of Paris, on the Seine side of the Hotel de Ville. It was the result of a public competition, held some years previous, in which Frémiet took part. The whole history of this statue is quite as interesting, though not quite as lively as that part which immediately concerned our sculptor, but it must be omitted. There were four competitors for this statue, Frémiet, Aube, Idrac and another, and a committee of artists, of whom the late M. Schœnewerk, sculptor, was one, was to decide upon the merits of the models. The sketches, which were half life-size, in plaster, were exposed in one of the large rooms of the abovementioned building. Aube’s sketch was a very beautiful one, Frémiet’s much the best, and the other two common-place. Frémiet’s appeared as it came from its mould, a simple effect of plaster, but of large style in line and mass. Idrac’s presented all the surface allurements that is known to the ingenious and picturesque-loving French worker in plaster: deftly colored in various attractive tints, lights and shadows displayed with the most striking and brilliant care, and all richly heightened with shining gold. As Schœnewerk entered the room, he exclaimed, in a tone and manner that carried appropriate force to his words, “ Ah! that one, ” pointing to Fremiet’s, “ looks like the valet of this one, ” as he turned to that of Idrac. The latter’s model was selected. It is not too much to say that this disgracefully flippant observation lost to Paris, France and the world a great equestrian statue, and got instead a very poor one. The second prize was awarded to the author of the “ Valet, ” and six hundred dollars given for his model, which may be seen in the museum of sketches and models belonging to the City of Paris.
This chronological account of the sculptor’s productions by no means includes the scores of small works that form a great part of his collection, many which have never been reproduced. The history of some of them is as interesting as the things themselves. Soon after the great fire in Chicago, the French artists made a contribution of an example of one or two of their works for the benefit of the sufferers, to be disposed of by lottery, but as it was thought that more money could be realized by selling them at auction, the last plan was carried out. If I remember aright the amount thus obtained was thirty thousand dollars, and I also have the impression
ˮGorilla and Woman. ˮ Fremiet, Sculptor.