DOI Page / Citation link:
https://doi.org/10.11588/diglit.43447#0445
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THE INTERNATIONAL STUDIO
July, i9n
Schools
Any additional information concerning art study and tuition, as well
as circulars and advice, will be cheerfully furnished, free of charge,
by this department. Address School Department, The Inter-
national Studio, 110-114 W. 32d St., N. Y.
THE ART STUDENTS’
LEAGUE OF NEW YORK
Announces the Opening of the Ninth Year
of Its
Summer School of Landscape Painting
J7ROM June 1 to November I, Mr. John Carlson will
conduct out-of-door classes m Landscape Painting at
Woodstock, Ulster County, New York.
The City Summer School will consist of classes in
Drawing, Painting, Illustration and Composition, under
Mr. Edward Dufner, in the American Fine Arts Build-
ing, 215 West Fifty-seventh Street, from June 5 to
September 23.
Circulars on Application
NEW YORK SCHOOL OF
APPLIED DESIGN FOR WOMEN
Incorporated 1892
Silk, Wall-Paper and
Book - Cover Designing,
Antique, Composition,
Life and Costume Classes,
Fashion Drawing, His-
toric Ornament, Archi-
tecture, Conventionaliza-
tion. Headquarters for
Women Students, Society
Beaux-Arts Architects.
Free Reference Library
160-162 LEXINGTON AVENUE
ART SCHOOL
Awarded International Silver Medal at St. Louis, 1904
Term: OCTOBER I—JUNE 1
For Aleginners, and jldvanced Students
DESIGN, MODELING, WOOD-CARVING
CAST and LIFE DRAWING
WATER COLOR
ART EMBROIDERY
EVENING CLASS in COSTUME DRAWING
Young Women’s Christian Association
7 EAST FIFTEENTH STREET, NEW YORK
Office Hours: 9 A.M. to 5 P.M. and 7 to 9 P.M.
the parts of a composition, inform such
later-twelfth century sculpture as has sur-
vived in the Domaine Royal. Art in the
north was not always to maintain so aus-
tere a bearing, but it seems that, before un-
bending, it wished to rebuke the riotous
south.
The Royal Porch at Chartres belonged
to a cathedral the rest of which was de-
stroyed by lightning, just as it was nearing
completion, in 1194. Immediately after-
ward the present church was begun, and a
great part of the sculpture in the north and
south porches dates from the first half of
the thirteenth century. Following the
lines laid down by the west doorway, the
large figures are applied to columns, but
they approach natural proportions and
their attitudes are grave but lifelike. What
is most striking about them is their unity of
style and the cult of simplification that car-
ried their makers away from the stylicised
forms and drapery in fashion a generation
earlier. As architectural sculpture they
are unsurpassed; later schools produced
statues that are more charming and richer
in individual beauty, but none nobler or
more harmoniously attuned to the church
they adorn. These large figures are ex-
ceedingly beautiful in their proud simplic-
ity, even when seen in casts and away from
their own surroundings, but to realize how
great they are, how serene and lordly an
understanding of the fundamental prob-
lems of art they record, it is necessary to
dwell upon them as they stand backed by
their cathedral.
Chartres, with its west and lateral
porches, tells more about sculpture in the
Domaine Royal from 1150 to 1250 than
any other church or assemblage of churches.
The facades of Amiens and Notre Dame
also contain very beautiful early-thirteenth
century work, but their lateral doors take
us on to the days of St. Louis and his imme-
diate successors. Never has there been a
happier time for art. There stood the
newly completed cathedrals, with their
ample portals, and instead of being bedev-
iled by more or less enlightened and critical
patrons with views and tastes of their own,
French sculptors were given good pay, a
free hand and plenty of work by princes,
spiritual and temporal, like St. Louis,
Henri de Braine and Evrard de Fouilloy,
who had the discernment to be liberal with
money and ask no questions. In connec-
tion with the Parisian school we know sev-
eral artists’ names. Pierre de Montereau
undoubtedly designed doorways, though it
is uncertain whether he actually turned out
any sculpture. Then there is Jean de
Chelles, who signed the south transept
door of Notre Dame, and may well have
been father to Pierre de Chelles, who
carved Philippe le Hardi’s tomb at St. Denis
some forty years later. We also know
Jean Ravy, Jean de Huy and other notable
men of the day. It is impossible to study
their work without becoming aware of
strong and distinct personalities within the
easily recognizable schools formed round
the churches, where many sculptors were
employed. Indeed, this period’s art gains
in individuality, expression and charm
what it loses in monumental effect. At
Reims unity of style is no longer possible;
this great assemblage of sculpture, begun
about 1260 and continued into the four-
teenth century, shows that its authors were
wholly absorbed by the more personal as-
pects of their art. In their hands sculp-
THE INTERNATIONAL STUDIO
July, i9n
Schools
Any additional information concerning art study and tuition, as well
as circulars and advice, will be cheerfully furnished, free of charge,
by this department. Address School Department, The Inter-
national Studio, 110-114 W. 32d St., N. Y.
THE ART STUDENTS’
LEAGUE OF NEW YORK
Announces the Opening of the Ninth Year
of Its
Summer School of Landscape Painting
J7ROM June 1 to November I, Mr. John Carlson will
conduct out-of-door classes m Landscape Painting at
Woodstock, Ulster County, New York.
The City Summer School will consist of classes in
Drawing, Painting, Illustration and Composition, under
Mr. Edward Dufner, in the American Fine Arts Build-
ing, 215 West Fifty-seventh Street, from June 5 to
September 23.
Circulars on Application
NEW YORK SCHOOL OF
APPLIED DESIGN FOR WOMEN
Incorporated 1892
Silk, Wall-Paper and
Book - Cover Designing,
Antique, Composition,
Life and Costume Classes,
Fashion Drawing, His-
toric Ornament, Archi-
tecture, Conventionaliza-
tion. Headquarters for
Women Students, Society
Beaux-Arts Architects.
Free Reference Library
160-162 LEXINGTON AVENUE
ART SCHOOL
Awarded International Silver Medal at St. Louis, 1904
Term: OCTOBER I—JUNE 1
For Aleginners, and jldvanced Students
DESIGN, MODELING, WOOD-CARVING
CAST and LIFE DRAWING
WATER COLOR
ART EMBROIDERY
EVENING CLASS in COSTUME DRAWING
Young Women’s Christian Association
7 EAST FIFTEENTH STREET, NEW YORK
Office Hours: 9 A.M. to 5 P.M. and 7 to 9 P.M.
the parts of a composition, inform such
later-twelfth century sculpture as has sur-
vived in the Domaine Royal. Art in the
north was not always to maintain so aus-
tere a bearing, but it seems that, before un-
bending, it wished to rebuke the riotous
south.
The Royal Porch at Chartres belonged
to a cathedral the rest of which was de-
stroyed by lightning, just as it was nearing
completion, in 1194. Immediately after-
ward the present church was begun, and a
great part of the sculpture in the north and
south porches dates from the first half of
the thirteenth century. Following the
lines laid down by the west doorway, the
large figures are applied to columns, but
they approach natural proportions and
their attitudes are grave but lifelike. What
is most striking about them is their unity of
style and the cult of simplification that car-
ried their makers away from the stylicised
forms and drapery in fashion a generation
earlier. As architectural sculpture they
are unsurpassed; later schools produced
statues that are more charming and richer
in individual beauty, but none nobler or
more harmoniously attuned to the church
they adorn. These large figures are ex-
ceedingly beautiful in their proud simplic-
ity, even when seen in casts and away from
their own surroundings, but to realize how
great they are, how serene and lordly an
understanding of the fundamental prob-
lems of art they record, it is necessary to
dwell upon them as they stand backed by
their cathedral.
Chartres, with its west and lateral
porches, tells more about sculpture in the
Domaine Royal from 1150 to 1250 than
any other church or assemblage of churches.
The facades of Amiens and Notre Dame
also contain very beautiful early-thirteenth
century work, but their lateral doors take
us on to the days of St. Louis and his imme-
diate successors. Never has there been a
happier time for art. There stood the
newly completed cathedrals, with their
ample portals, and instead of being bedev-
iled by more or less enlightened and critical
patrons with views and tastes of their own,
French sculptors were given good pay, a
free hand and plenty of work by princes,
spiritual and temporal, like St. Louis,
Henri de Braine and Evrard de Fouilloy,
who had the discernment to be liberal with
money and ask no questions. In connec-
tion with the Parisian school we know sev-
eral artists’ names. Pierre de Montereau
undoubtedly designed doorways, though it
is uncertain whether he actually turned out
any sculpture. Then there is Jean de
Chelles, who signed the south transept
door of Notre Dame, and may well have
been father to Pierre de Chelles, who
carved Philippe le Hardi’s tomb at St. Denis
some forty years later. We also know
Jean Ravy, Jean de Huy and other notable
men of the day. It is impossible to study
their work without becoming aware of
strong and distinct personalities within the
easily recognizable schools formed round
the churches, where many sculptors were
employed. Indeed, this period’s art gains
in individuality, expression and charm
what it loses in monumental effect. At
Reims unity of style is no longer possible;
this great assemblage of sculpture, begun
about 1260 and continued into the four-
teenth century, shows that its authors were
wholly absorbed by the more personal as-
pects of their art. In their hands sculp-