International studio (16.1902)

French Medals

Sculpture awarded him a prize similar to that
gained by M. Chaplain and M. Roty ; and alto-
gether the event constituted a definite recognition
of a new evolution of the glyptic art.
In analysing the present state of that art one
realises that the two predominating tendencies are
diametrically opposed. Here, as in the domain of
what we call “pure art,” there is a struggle in pro-
gress between reality and imagination. In the
work of M. Chaplain and M. Roty, and also in
that of M. Vernon, M. Bottee, and M. Patey, there
is an evident striving after the realisation of the
brightest and noblest ideals, by means of abstract,
synthetical symbols and allegories. The work of
M. Alexandre Charpentier, on the other hand, is


MEDAL BY CHAPLAIN

essentially realistic; the artist expects no results
save those obtained after a close inspection of
Nature. One can hardly say he proscribes
draperies, but at least he rarely uses them, as
though he had some sort of scruple about veiling
the beauty of the human form, even partially.
And when we pass from the conception to the
execution the contrast is no less striking. In the
one case it is subdued, precise, delicately handled;
in the other we behold it full, free, sculptural.
Between these two traditionally-opposed modes
of expression there was room for another method—
one of intimite, of social compassion, resolutely
modern. Such is the art of M. Ovide Yencesse—
a Burgundian, like M. Alphonse Legros, the painter
of the poor and the peasantry, of whom he often
makes one think. At other times his sensitiveness
suggests to my mind that excellent imagier, M.
Dene. He loves to go back to his native soil, and


MEDAL BY DELOYE

from his own village he brings back impressions of
simple beings, full of character and spontaneously
realising what is known as “ style.” Such’are the
plaquettes of Virginie la Sage, Pierrette la pauvre
and Annette la Folle. The distinctive qualities
possessed by M. Yencesse are depth and tender-
ness. In all his work, including his portraits, he
succeeds in touching us profoundly by the sober
simplicity of his mise-en-scene, and by the elimina-
tion of mere detail. He generalises the accidental,


MEDAL BY CARABIN

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