DOI Heft:
No. 123 (June, 1903)
DOI Artikel:Bénédite, Léonce: Alphonse Legros, painter and sculptor
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.19879#0029
The Paintings and Sculpture of AIphonse Legros
Legros in this wild battalion, whose leader was object of the most violent attacks. The women,
Courbet, just as they had enrolled Bonvin, Fantin- " fixed " with a realism, powerful, but calm and
Latour, Bracquemond and Whistler. The Angelas, unexaggerated, kneeling or standing at the foot of
which appeared in 1859, tended greatly to strengthen a post bearing the image of the Crucifixion, with a
his growing celebrity. Baudelaire devoted two streaked background of red and gold, set in a
long pages of his subtle, rare and exquisite poetry vague and misty landscape suggestive of dream-
to this simple, precious masterpiece, which re- land : this group, which moves the beholder by
minded him of the " ardent simplicity of the old the deep conviction silently animating every face,
pictures." The painting has long been in the young or old, fresh or wrinkled, attracted the
possession of the illustrious English etcher, Sir bitterest criticisms. Legros was accused of " re-
F. Seymour Haden. viving the scandal of the Enterrement d'Ornans,"
In 1861 appeared the Ex Voto (now reproduced), and the critics were right in their keen-sighted
belonging to the Dijon gallery, and better known hatred when they associated him with Courbet.
since its appearance at the Universal Exhibition. Nevertheless, Legros received a "mention."
The picture created an outburst of applause on About this period Legros, who was still living on
the one hand, while on the other it formed the the produce of his lessons, made a little trip to
Spain in company of one
of his pupils. The visit
lasted but a fortnight, and
Catalonia was the only
district they traversed.
Thus Legros had no
chance of seeing the art
galleries ; but the impres-
sion he received was such
that for a long time he
lived on his memories,
as may be seen in his
works both painted and
etched; but only in the
Louvre did he make
the acquaintance of the
Spanish masters who had
such an influence on his
imagination.
To this inspiration
may be traced the Lutrin.
There is quite a little story
attaching to this work.
It was ill received in the
first place at the Salon of
1863, where it was hung
in a deplorable position;
but in 1868, after having
taken out one of the
figures, Legros sent it in
again to the Salon, where
it won a medal. This
greatly pleased his ironical
spirit.
The year 1863 was the
date of his departure for
PORTRAIT IN GOLD POINT OF CHARLES DARWIN BY ALFHONSE LEGROS London. The Lutrin
(In the Collection of G.J. Knowks, Esq.) had been composed under
12
Legros in this wild battalion, whose leader was object of the most violent attacks. The women,
Courbet, just as they had enrolled Bonvin, Fantin- " fixed " with a realism, powerful, but calm and
Latour, Bracquemond and Whistler. The Angelas, unexaggerated, kneeling or standing at the foot of
which appeared in 1859, tended greatly to strengthen a post bearing the image of the Crucifixion, with a
his growing celebrity. Baudelaire devoted two streaked background of red and gold, set in a
long pages of his subtle, rare and exquisite poetry vague and misty landscape suggestive of dream-
to this simple, precious masterpiece, which re- land : this group, which moves the beholder by
minded him of the " ardent simplicity of the old the deep conviction silently animating every face,
pictures." The painting has long been in the young or old, fresh or wrinkled, attracted the
possession of the illustrious English etcher, Sir bitterest criticisms. Legros was accused of " re-
F. Seymour Haden. viving the scandal of the Enterrement d'Ornans,"
In 1861 appeared the Ex Voto (now reproduced), and the critics were right in their keen-sighted
belonging to the Dijon gallery, and better known hatred when they associated him with Courbet.
since its appearance at the Universal Exhibition. Nevertheless, Legros received a "mention."
The picture created an outburst of applause on About this period Legros, who was still living on
the one hand, while on the other it formed the the produce of his lessons, made a little trip to
Spain in company of one
of his pupils. The visit
lasted but a fortnight, and
Catalonia was the only
district they traversed.
Thus Legros had no
chance of seeing the art
galleries ; but the impres-
sion he received was such
that for a long time he
lived on his memories,
as may be seen in his
works both painted and
etched; but only in the
Louvre did he make
the acquaintance of the
Spanish masters who had
such an influence on his
imagination.
To this inspiration
may be traced the Lutrin.
There is quite a little story
attaching to this work.
It was ill received in the
first place at the Salon of
1863, where it was hung
in a deplorable position;
but in 1868, after having
taken out one of the
figures, Legros sent it in
again to the Salon, where
it won a medal. This
greatly pleased his ironical
spirit.
The year 1863 was the
date of his departure for
PORTRAIT IN GOLD POINT OF CHARLES DARWIN BY ALFHONSE LEGROS London. The Lutrin
(In the Collection of G.J. Knowks, Esq.) had been composed under
12