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Studio: international art — 2.1894

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1 cm
Pate sur Pate

selected from amongst the most promising youths

PATE SUR PATE. BY M. L. wn0 attended his public classes. I joined early

SOLON. the small group of congenial spirits he had

May a craftsman-more accustomed gathered together and to whom he supplied, with

to ply the china tools than the pen-be disinterestedness, his good advice and the life

excused if he venture to jot down in his own words model His was a most unconventional and

a few notes upon a decorative process he has prac- '"regular where the rule was that every one

tised for thirty-five years, and which he hopes to should be free to follow his own impulse and en-

.. „c v,P ,v snared to deavour to strike out for himself a path of his

continue to practise as long as he is spareu iu _ v

, „ own. We were all anxious to learn, all full of
work ?

Pite sur Pate undoubtedly lends itself to artistic lofty aspirations, and of bright hopes with regard

treatment yet very few painters or sculptors-with to the future, but none of us, as far as I can

the exception of the talented artists on the staff of remember, was much encumbered with this world's

the manufactory of Sevres-have resorted to it for goods. Notwithstanding this last disadvantage,

the rendering of original conceptions. I do not not a few of our small brotherhood have made

mean to enter into the vindication of its capabilities, their mark in art, each in a way very different from

but I cannot refrain from recording here my in- the rest. Alphonse Legros, Fantin, the Regameys,

debtedness to a process from which I have derived L'hermite, Cazin, and many others less known in

so much satisfaction, and which, moreover, has England, were amongst those I am proud to

permitted me to exist—always doing factory work remember as my friends at the " Atelier Lecoq."

—with perhaps a little more comfort than falls But while all my fellow-workers were preparing for

generally to the lot of a factory hand. the higher contest of the annual "Salon," I felt

How it came to pass that, early in life, after a drawn by natural disposition towards decorative

course of desultory and aimless studies, I happened and applied art. I was found more often studying

to find at last, a direct application for the little Greek vases and terra-cottas than pictures, and the

knowledge of drawing I had managed to acquire, Cluny Museum had to me as great an attraction as

may perhaps be of some interest to my brother the Louvre.

craftsmen Many were the sketches I made of imaginary

M. Lecoq de Boisbaudrant, professor at the masterpieces to be executed in marble, bronze,

Elementary School of Design in Paris, had opened precious metal; all of them declared, when sub-

a private studio, in which the students had been mitted to competent judges, to be as impracticable

II. No. 10.—January, 1894. II7
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