DOI Heft:
Nr. 99 (June 1901)
DOI Artikel:Mourey, Gabriel: The work of Jean-François Raffaëlli
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.19788#0019
Jean-Francois Raffaelli
"> ^as t0 Sa^' °^ '1]"mselfi his
, ~~^jQ^Hfi1'^. work and his ideas, and
s^M^iK r lWs information may be
~~~^^-^^^t\^^^^^^^' V obtained from the pages
et du Beau' Caract^rist^"
,/;' "^^I^^^^^^^JpsSr^^^^^^^^^- are mfr^e(^ a certa|n
— ^§El~^P'g:~ """""d r --------- t^ie wherewithal to enable
' . •• -. , one to obtain a fairly
accurate idea of M.
JAR DIN D INVALIDE BY JEAN-FRANCOIS RAFFAELLI
Raffaelli's manner of re-
garding art.
a tree, for example, painted indoors, differ abso- At the time when he wrote these notes, "Roman-
lutely from the outline and the colour of a house ticism," "Classicism," and "Realism" had, in the
or a tree painted in the open air." artist's opinion, ceased to exist. Ingres—the great
According to the foregoing definitions it would Ingres—one of the most admirable masters of the
seem justifiable to dub M. Raffaelli an Impressionist. French School, was, to quote M. Raffaelli, " nothing
Yet it would be rash to do so, for much as he has more than an esprit suffering from those traditions,
been indebted to the example and the encourage- with which, in true provincial fashion, he had surfeited
ment of the Impressionist comrades whose names himself, without leaving a single work of art which
I have mentioned, he does not, I am sure, regard can be called really French—restless and soured by
himself as forming one of their group. It is the growth of new ideas springing up around him, and
advisable, therefore, to listen to what the painter after all his doubtings and angry obstinacy, leaving
"AUX INVALIDES "
6
BY JEAN-FRANCOIS RAFFAELLI
"> ^as t0 Sa^' °^ '1]"mselfi his
, ~~^jQ^Hfi1'^. work and his ideas, and
s^M^iK r lWs information may be
~~~^^-^^^t\^^^^^^^' V obtained from the pages
et du Beau' Caract^rist^"
,/;' "^^I^^^^^^^JpsSr^^^^^^^^^- are mfr^e(^ a certa|n
— ^§El~^P'g:~ """""d r --------- t^ie wherewithal to enable
' . •• -. , one to obtain a fairly
accurate idea of M.
JAR DIN D INVALIDE BY JEAN-FRANCOIS RAFFAELLI
Raffaelli's manner of re-
garding art.
a tree, for example, painted indoors, differ abso- At the time when he wrote these notes, "Roman-
lutely from the outline and the colour of a house ticism," "Classicism," and "Realism" had, in the
or a tree painted in the open air." artist's opinion, ceased to exist. Ingres—the great
According to the foregoing definitions it would Ingres—one of the most admirable masters of the
seem justifiable to dub M. Raffaelli an Impressionist. French School, was, to quote M. Raffaelli, " nothing
Yet it would be rash to do so, for much as he has more than an esprit suffering from those traditions,
been indebted to the example and the encourage- with which, in true provincial fashion, he had surfeited
ment of the Impressionist comrades whose names himself, without leaving a single work of art which
I have mentioned, he does not, I am sure, regard can be called really French—restless and soured by
himself as forming one of their group. It is the growth of new ideas springing up around him, and
advisable, therefore, to listen to what the painter after all his doubtings and angry obstinacy, leaving
"AUX INVALIDES "
6
BY JEAN-FRANCOIS RAFFAELLI