Studio: international art (15.1899)

The Renaissance of the Medal in France

by ponscarme

selves to glyptics, just as certain painters culti-
vate etching or lithography or engraving, their
creations differing from those of the true " pro-
fessionals " in that they preserve a certain freedom
in tone and in appearance. Thus it is that Maxi-
milien Bourgeois, Fremiet, Jean Dampt, Joseph
Gardet, and Pierre Roche have given rein to their
instincts, and have displayed the very essence of
their originality in fresh and charming work.

The reflex action of this glyptic work on art
industries is very curious to note. Ornament
workers in all ages have willingly undertaken to
act as medallists, in the course of their mission as
embellishers of materials, and as part of their task as
jewellers ; and to-day such men as Brateau, Lalique,
C. Marioton, Legastelois, and Joindy worthily carry
delighted to see how absolutely free from imita- on the tradition left behind by Morel-Ladeuil,
tion is the style of Deloye, playful and witty, like Vechte, and Jean Gamier. On the other hand,
that of the fieintres galants of the eighteenth many medallists are doing most brilliant ornamental
century; how fresh in manner are Peter, the por- work. To Roty we are indebted for bracelets,
traitist and depicter of animals, and Alexandre comb tops, mirror
Charpentier. In the work of the latter, convinced backs, and cups ; to
and ardent " naturalist" that he is, one finds no Levillain for dishes,
groups of figures, no allegories, but " notes " of vases, and basins ; to
attitudes and gestures and movements, studies of Heller for covers and
the human body nude and in action, which serve to table plate, some-
incarnate the sentiment of the work and evoke its times fantastic but
significance in the completest fashion. always interesting ;

Although Alexandre Charpentier has thrice been Vernier produces
"isolated," having in 1878, 1881, and 1884 brooches, and Mou-
undergone the tests demanded for the obtainment chon goblets, Bottee
of the Prix de Glyptique, he has shown himself to contributed an ad-
be at least equally gifted as a modeller of figures mirable carved cigar- medal by heller
and high-relief work. We need not be astonished holder which was

at this double talent, which, after all, is not un- greatly admired at the last Salon; while Nocq and
common. Barye and Chapu, who owe their fame Charpentier are responsible for numerous objects of
to their statuary, commenced as medal engravers, all sorts, each marked with the stamp of profound
and obtained, originality. The future should take heed of

the former a the value of these works, and be grateful to

" Mention," and the medallists for having by their co-operation

the latter a hastened on the revival of gold-and-silver-

second Grand smith's work, of upholstery, of binding, and

Prix in the indeed of each one of what may be called the

Rome," an in- Finally, even the painters themselves, like

terval of thirty- every one else, have been anxious to further

two years elap- the expansion of glyptic art—that art which

sing between goes midway towards painting—by creating

the two events. * V '' _ . ^ effigies well calculated to attract, when signed

Much more fre- by such names as Legros, Michel Cazin,

quent still is the Prouve, Raffaelli and Guerard or by that

case of sculptors of the creator and leading exponent of the

who have de- modern illustrated poster, Jules Cheret.

voted them- "la peinture," by a. charpentier Roger Marx,

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