DOI Heft:
No. 42 (September, 1896)
DOI Artikel:Mourey, Gabriel: A modern portrait-painter: M. Aman-Jean
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.17297#0214
A Modern Portrait-Painter
MODERN PORTRAIT-PAIN- lt is indeed a g°od thin§ t0 note the influence
TE R • M AM AN-JE AN BY st^ exercised pure art, even to the extent—in the
GABRIEL MOUREY case °^ certam art-ists> °f whom we may be proud
to be the contemporaries—of compelling the
M. Aman-Jean's art is an art full of attention of the heedless multitude, who must
delicacy and refinement and subtlety, an art full of needs admire even though they cannot understand,
deep thought and charm, full of dreamy fascina- The respect their very names inspire is testimony
tion. This is as much as to say that it is not the enough of the divine and everlasting magic of
kind of work to please everybody. It appeals that divine and everlasting mystery we call Art.
rather to the intellectual and the refined; to England to-day affords several notable examples of
those, in a word, who can understand and can feel this feeling ; in her admiration, for instance, of two
—applying these two words at once in their most such artists as Dante Gabriel Rossetti and Burne-
general and their deepest sense—to those who Jones, the former wearing on his brows the double
strive to discover in an artist's work a fresh and wreath of everlasting bays as poet and as painter;
special significance, according to the aspect of and the latter, alive and famous in the world of
those creations of the external world which he art and letters, and rewarded in his dignified career
places before their eyes. Such as these will love and of labour by the admiration of his countrymen and
appreciate M. Aman-Jean's art; and they are more foreigners alike. MM. Puvis de Chavannes and
numerous than people think, despite that decay of A. Rodin, despite the fact that certain of their
taste which is inherent to all modern democracies, works (small blame to them, be it added), must
Their support is enough to establish an artist's ever remain as a sealed book to the crowd, have
reputation, and that in a manner far preferable to received in France the highest official recognition,
him than the notoriety achieved by much of the and yet have continued to be the independent artists
transient, garish work of the day. they always were, even from the outset of their
m. am ax-jean in his studio
VIII. No. 42.—September, 1896.
from a photograph
197
MODERN PORTRAIT-PAIN- lt is indeed a g°od thin§ t0 note the influence
TE R • M AM AN-JE AN BY st^ exercised pure art, even to the extent—in the
GABRIEL MOUREY case °^ certam art-ists> °f whom we may be proud
to be the contemporaries—of compelling the
M. Aman-Jean's art is an art full of attention of the heedless multitude, who must
delicacy and refinement and subtlety, an art full of needs admire even though they cannot understand,
deep thought and charm, full of dreamy fascina- The respect their very names inspire is testimony
tion. This is as much as to say that it is not the enough of the divine and everlasting magic of
kind of work to please everybody. It appeals that divine and everlasting mystery we call Art.
rather to the intellectual and the refined; to England to-day affords several notable examples of
those, in a word, who can understand and can feel this feeling ; in her admiration, for instance, of two
—applying these two words at once in their most such artists as Dante Gabriel Rossetti and Burne-
general and their deepest sense—to those who Jones, the former wearing on his brows the double
strive to discover in an artist's work a fresh and wreath of everlasting bays as poet and as painter;
special significance, according to the aspect of and the latter, alive and famous in the world of
those creations of the external world which he art and letters, and rewarded in his dignified career
places before their eyes. Such as these will love and of labour by the admiration of his countrymen and
appreciate M. Aman-Jean's art; and they are more foreigners alike. MM. Puvis de Chavannes and
numerous than people think, despite that decay of A. Rodin, despite the fact that certain of their
taste which is inherent to all modern democracies, works (small blame to them, be it added), must
Their support is enough to establish an artist's ever remain as a sealed book to the crowd, have
reputation, and that in a manner far preferable to received in France the highest official recognition,
him than the notoriety achieved by much of the and yet have continued to be the independent artists
transient, garish work of the day. they always were, even from the outset of their
m. am ax-jean in his studio
VIII. No. 42.—September, 1896.
from a photograph
197