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Contents. Some typographical errors have been corrected. List of Illustrations (In certain versions of this etext [in certain browsers]clicking on the image will bring up a larger version.) (etext transcriber's note)

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MODERN FRENCH MASTERS

MODERN FRENCH
MASTERS

BY

MARIE VAN VORST

WITH PREFACE BY

ALEXANDER HARRISON

PARIS
BRENTANO’S
37 AVENUE DE L’OPERA
AND UNION SQUARE, NEW YORK
1904
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Printed by Ballantyne, Hanson & Co.
At the Ballantyne Press
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PREFACE

The source of art is the fountain of Love: the winged spirits, Painting,Sculpture, and Poetry, spring from it hand in hand. With affectionateleave-takings and cries of joy at their liberation, they soar intospace, the angel of Music out-winging the rest because of more lambentfibre, but she is no more vital nor pulsating than her sisters.

Genius is Love, Talent is the sure perception of essentials combinedwith the power of expression. Talent, coupled with genius, produces theLove-Child that men call a Masterpiece.

The love-child in Art is the most perfect of all human creations,whether the artist lover be conventional or academic, or rebelliousagainst form and schools, or capricious and eccentric. Emerson said:“Write above your door the word, ‘Whim.’” This, Alfred Stevens,Besnard, Dégas, and the great sculptor{viii} Carries would have applauded,and above all—Whistler!

Whether the lover be brutal and aggressive (Courbet and at timesBesnard), shy and distinguished (Puvis de Chavannes), dreamy andcaressing (Corot and Cazin), alert and pulsating (Sargent, Zorn),retiring and retrospective (Millet-Lobre), nobly dominating (like Rodin,who says “il faut planer”)—or varied in impulse—one might saycapricious—like Whistler, Bastien Lepage and Monticeli—the obsessionof the motif will infallibly assert itself in convincing form, thevital impulse of loya

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