Class XXX.]
701
This work is a specimen of that class of art which, seek-ing to act on the feelings through the representation ofmere physical suffering, may be called the Revolting, astyle which appears to be little cultivated or admired,except in France .
These works all show great knowledge on the part ofthe sculptor. Prize Medal.
J. Clesingkr, of Besai^on (1709, p. 1258). A Bac-chante, who is roiling on the ground in a state of drunkenexcitement. This figure is remarkable for the masterlychiselling of the marble, the great knowledge of anatomy,and the beauty of the countenance; but these excellencesdo not sufficiently excuse the sculptor for having in thiswork allowed his imagination to be perverted and de-graded to the service of a low sensuality. Moreover, thetreatment of the hair is at variance with the principles ofa good style, and there is a great want of taste in thearrangement of the folds of the drapery. The J ury consi-dered this subject to be of an objectionable character, buthave made Honourable Mention of the excellences pointedout above.
J. M. Ramus (1419, p. 1244). Cephalus , tenderly sup-porting in his arms the dying Procris . This group is, inits leading lines, very happily composed, and shows inthe forms much knowledge of nature; but the modellingis not in a sufficiently large style, and is not sustainedthroughout. Prize Medal.
M. Pascal, of Paris (1660, p. 1266\ A group, inmarble, of a monk holding out a crucifix, which a littleboy is eagerly kissing; a little girl stands by, steadfastlygazing at him. There is a charming feeling for naturein the expression of the heads ; but the general composi-tion, and particularly the drapery, may be termed ratherPicturesque than Plastic in style, and, with the exceptionof the nude forms, the whole is only sketched out in themarble. Honourable Mention.
C. Cordier, of Paris (400, p. 1200). The head of anegro, cast in bronze, by this artist, is a true example ofcharacteristic portraiture; the conception is full of life,the execution most masterly, and well sustained through-out. Honourable Mention.
Jean Debay, of Paris (573). A group of a younghunter, rushing forward to despatch a stag, pulled downby a hound. The hunter is naked, and the whole type isconceived in the spirit of ancient art. This group, fromthe natural maimer of the action, forms a very pleasingcomposition. The hunter and the animals are modelledwith great knowledge, and a good style is shown in theexecution. Prize Medal. (Main Avenue East.)
Fratin, of Paris (1235, p. 123G). This artist, themost celebrated sculptor of animals in France at thepresent day, contributes to the Exhibition two eagles witha wild goat, which they have slain, a greyhound, anotherhound, life size, and several animals on a smaller scale,all in bronze. These works are fully worthy of theartist’s reputation. The general conception is most spi-rited, the details of nature are most faithfully rendered,and the treatment throughout, particularly of the plumageand the skins, is most careful, and in a very good style.Prize Medal.
A. Eechesne, of Paris (573, p. 1205). Two groups, inplaster, of dogs and children. In one is represented adog rescuing a child from the attack of a snake; in theother, which forms the sequel to the preceding, the snakelying dead, the dog exhausted, and the child full of joyand gratitude for its rescue. These works are very re-markable, from the extraordinary truth aud spirit in themodelling and expression of the dog’s head. The formof the child, on the contrary, is too swollen aud coarse;and in the representation of the shaggy coat of the dog,the execution is too minute, and not in a legitimate style.
In another group, a woman is lying on the groundasleep, or dead. Above her hovers an eagle, about tocarry off her child. Here, again, the treatment of thebird is very masterly, and by far the best part of thework. Prize Medal.
Bonnassieux, of Paris (64, p. 1174). A group, inbronze, representing Cupid, as a youthful figure, clip-ping the tips of his owu wings; standing beside him is adog. The form of the Cupid is very graceful, but the
head is too directly copied from the antique type. Theexecution is very unequal; the dog, in particular, is verycarelessly modelled. Honourable Mention.
A. G. Fourdixois (1231, p. 123G). A large sideboard,ornamented with figures and dogs, on a large scale, carvedin wood. In these the artist has shown such a happy in-vention, and such power of execution, that this work mustbe considered to rank as sculpture, aud cannot be passedwithout a notice here, although it belongs to Class XXVI.,and has been rewarded in that Class with a Council Medal.
It may not here he out of place, after this notice of theworks of English, French, and German artists, to com-pare briefly the intellectual, tendencies which these threegreat nations severally manifest in their schools of sculp-ture.
In each of these schools, though in the case of Englandonly within the present generation, Greek sculpture hasbeen acknowledged as the standard by which all creationsof ideal art must be judged.
The English school has, on the one hand, sought toattain the qualities of grace and loveliness of form; morerecently this school has also aimed at strength and manli-ness of character, chiefly in strong action. The French have principally turned their attention to the representa-tion of sensualjseauty, to the tender feelings called forthby the relations between the sexes, to other forms of theSentimental, or to the style which may be designated asthe Revolting.
Finally, German art has been especially devoted to therepresentation of deep religious feeling, or of calm, idyllicscenes; it has also endeavoured to treat the most stirringmoments of real life in a grand and impressive manner.
Of the works contributed to the Exhibition by these• three nations, those most distinguished in the foregoingI notices may be fairly cited in proof of the success withj which each school has followed out its peculiar bent.
| 2. Sculpture on a small Scale.
I Among the French works in silver analogous in style( to the productions of Vechte mentioned before, is a! service of plate in the taste of the sixteenth century,j executed by Feuciier, and exhibited by Froment Meu-! rice (1720, p. 1258). This work is the property of thei Duke de Luvnes. A Prize Medal has been awarded toj it in Class XXIII.
The French department of the Exhibition displayed an| extraordinary abundance of small groups of human figures1 and animals, and other small bronzes.
| Many of these are from the designs of distinguished; artists, among whom may be noticed, Pascal (16CO,p. 1266), who contributes a charming group of three chil-dren with bunches of grapes, designed for a dinner ser-vice, Fratin (1235, p. 1236), and also Mene (630,p. 1208), who works in the same style as Fratin.
In other bronzes we find copies from the works of cele-brated sculptors, such as Rude, Duvet, and Pradier; theseare often very well executed. A Daphnis and Chloe,after Gay lard, deserves special notice, lint a great numberof these specimens do not rise above the level of verypretty ornaments, executed without much style, and anotice of them here would occupy too much space. Asthe French medallists sent no specimen of their works tothe Exhibition, no mention has been made of them inthis Report, though the skill of many of these artists isvery generally acknowledged.
(b.) Sculpture in Ivory.
L. Lautz, of Paris (295, p. 1199). A great cup, orna-mented with reliefs, representing a battle scene. Thecomposition of these is too picturesque, and not treated inaccordance with the principles of Plastic Art ; but it mustbe admitted, that this is a work of extraordinary merit inthe drawing and execution. Honourable Mentiou.
(c.) Sculpture in Wood.
M. J. Lienard, of Paris (1326, p. 1239). A Boar-hunt,carved ou a clock-case. Although this work is treated ina manner utterly at variance with the principles of PlasticArt , it is nevertheless a perfect masterpiece for truth of