File:Barye - life and works of Antoine Louis Barye in memory of an exhibition of his bronzes, paintings, and water-colors, held at New York, in aid of the fund for his monument at Paris (1889) (14766433042).jpg

Identifier: baryelifeworksof00deka (find matches)
Title: Barye : life and works of Antoine Louis Barye ... in memory of an exhibition of his bronzes, paintings, and water-colors, held at New York, in aid of the fund for his monument at Paris
Year: 1889 (1880s)
Authors: De Kay, Charles, 1848-1935
Subjects: Barye, Antoine-Louis, 1796-1875
Publisher: New York : The Barye Monument Association
Contributing Library: Harold B. Lee Library
Digitizing Sponsor: Brigham Young University

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Millet alsodied in 1875, so that France was bereft at once of three artistswhose like we shall probably never see again. Daubigny followed in1878 but Jules Dupre was living at the opening of the present year.Of all the painters and sculptors whom Barye out-lived there wasnone who can be said to have influenced his career as an artist, exceptone who died as early in the century as 1826, namely Grericault thepainter of the Raft of the Medusa, a man who died at the early age ofthirty-three, but left behind him a most vivid impression on Frenchsculpture as well as on French painting. He painted lions and tigerswell, and his horses are often superior to those of Delacroix. Gericaultwas alternately soldier and artist and always a man of ill-regulated Hfe.But while Barye was in his formative epoch this brilliant meteor rose onhis horizon and captivated his senses. Another who may have moved him for a time was Auguste Preault,a sculptor several years his junior who made his appearance and 130
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85. A. L. BABS - rwBO PEEAULT AS AN INFLUENCE a sensation at the Salon at nearly the same period. It was in 1833that Preault surprised the dignified sculptors of the old school withbas-reliefs and figures that were prophetic of Les Mis6rables by VictorHugo, such as the figure of a young girl dying in the arms of hermother, and a colossal bas-relief called Famine. Preault in his earlyperiod seems to have been the Rodin of his day—unless it maybe more logical to say that Rodin is the Preault of the present timeIt was he who remarked concerning the men opposed to his views ofthe proper scope of sculpture: Academicians are not artists; theyare college ushers who have been promoted in rank. In 1834 thistumultuous young artist created a yet greater sensation with a medal ofan old Roman Emperor of most revolting countenance, and a bronzebas-relief called Slaughter. The latter was one jumbled mass of men,women and children destroying each other, and caused many persons tothink it the work o

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