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#0035
The Paintings and Sculpture of Alphonse Legros
fire which occurred there some years since. In
1867 he also exhibited a Scene d'Inquisition, a
subject which united his ever-lively memories of
Spain with that taste for the tragical which he had
shown at a very early stage in his etchings and
his drawings. In 1868, as I have said, he re-
turned his Lutrin to the Salon, together with the
Amende Honorable, which is to-day the pride of
the Luxembourg Gallery. In 1869 still greater
success was won by the Refectoire. Public esteem
began to grow with regard to a talent which
was nevertheless regarded as somewhat too
restrained. At length, in 1875, appeared the
Chaudronniers, which became the property of
Mr. Ionides, the celebrated amateur, who preceded
the lamented Mr. Knowles in his great liking for
the inspirations of Legros. The artist continued
to produce, more or less regularly, it is true, works
some of which are of the highest importance.
First, we have a whole series of portraits; at their
head must be placed that of Gambetta, done in 1875.
It was ordered by Sir Charles Dilke, and that dis-
tinguished statesman has generously bequeathed
the painting to France, which will take possession
of it in due course. One should also note the
portrait of Burne-Jones, belonging to Lord Carlisle
—a very curious and expressive work—and those
of the poet Browning, Professors Marshall and
Huxley, Poulet-Malassis, M. Cassal, ex-deputy,
and others.
In the gallery at Alengon one may find his Jeune
fe7iime se promenant au bord d'une riviere, displayed
at the Centennial Exhibition of 1889, and pre-
sented by the artist, together with several other
pictures and drawings. Lord Carlisle owns a series
of works by Legros, all of high interest: the
Bapteme, of 1869 ; the tragic Barricade, the
Repas des pauvres, and the admirable Psyche, a
work of great singularity, in the sharp tones of
its green and white draperies, and one of extreme
beauty in the noble, simple harmony of its
hues, so severely and yet so melodiously modu-
lated. In the Luxembourg is a curious little
landscape, given by Bracquemond, which strongly
recalls Courbet, also the austere and pathetic The
Dead Christ (1888), which was exhibited at the
fire which occurred there some years since. In
1867 he also exhibited a Scene d'Inquisition, a
subject which united his ever-lively memories of
Spain with that taste for the tragical which he had
shown at a very early stage in his etchings and
his drawings. In 1868, as I have said, he re-
turned his Lutrin to the Salon, together with the
Amende Honorable, which is to-day the pride of
the Luxembourg Gallery. In 1869 still greater
success was won by the Refectoire. Public esteem
began to grow with regard to a talent which
was nevertheless regarded as somewhat too
restrained. At length, in 1875, appeared the
Chaudronniers, which became the property of
Mr. Ionides, the celebrated amateur, who preceded
the lamented Mr. Knowles in his great liking for
the inspirations of Legros. The artist continued
to produce, more or less regularly, it is true, works
some of which are of the highest importance.
First, we have a whole series of portraits; at their
head must be placed that of Gambetta, done in 1875.
It was ordered by Sir Charles Dilke, and that dis-
tinguished statesman has generously bequeathed
the painting to France, which will take possession
of it in due course. One should also note the
portrait of Burne-Jones, belonging to Lord Carlisle
—a very curious and expressive work—and those
of the poet Browning, Professors Marshall and
Huxley, Poulet-Malassis, M. Cassal, ex-deputy,
and others.
In the gallery at Alengon one may find his Jeune
fe7iime se promenant au bord d'une riviere, displayed
at the Centennial Exhibition of 1889, and pre-
sented by the artist, together with several other
pictures and drawings. Lord Carlisle owns a series
of works by Legros, all of high interest: the
Bapteme, of 1869 ; the tragic Barricade, the
Repas des pauvres, and the admirable Psyche, a
work of great singularity, in the sharp tones of
its green and white draperies, and one of extreme
beauty in the noble, simple harmony of its
hues, so severely and yet so melodiously modu-
lated. In the Luxembourg is a curious little
landscape, given by Bracquemond, which strongly
recalls Courbet, also the austere and pathetic The
Dead Christ (1888), which was exhibited at the