Identifier: baryelifeworksof00deka (find matches)
Title: Barye : life and works of Antoine Louis Barye ... in memory of an exhibition of his bronzes, paintings, and water-colors, held at New York, in aid of the fund for his monument at Paris
Year: 1889 (1880s)
Authors: De Kay, Charles, 1848-1935
Subjects: Barye, Antoine-Louis, 1796-1875
Publisher: New York : The Barye Monument Association
Contributing Library: Harold B. Lee Library
Digitizing Sponsor: Brigham Young University

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t only the stag but the wild boar is hunted in France, the wolf existsand the bear is not unknown, neither is the Alpine goat. But these were not the most important sendings of Barye that year.There was the charming little Elephant of Asia, a dead gazelle whichbrought tears into the eyes of sensitive persons, a bear of the Alpsand a Russian bear, a combat between a Bruin of India and one of ourAmerican black bears, and a magnificent Little statuette in plaster of ahorse of powerful breed, not a wild variety, upon whose back a lion hasalighted with a spring, all of the action of which is told in its flyingflanks and tail. There was a lion in plaster and a bear overthrown bymastiffs shown in the later illustrations here. Barye was but thirty-seven, yet here was the whole gamut of hisgenius struck with a power and furious vigor, with a gentleness andhumor, with a tender sentiment in the dead gazelle that moved men totears, with a knowledge of mediaeval dress rare among antiquarians of 28
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AT THE JAEDIN DES PLANTES the period, with a comprehensive instinct for grouping, and a skill infashioning man, domestic animals and wild beasts down to the minutestdetails, that no artist of any age, of any nation before or since his timehas ever surpassed. Here was a showing that would have almost justified any sculptor intaking from that time forth a position of proud aloofness, an attitudeof indifference to criticism. It will be seen that Barye never presumedto hold such a position. He must have known his own genius. Butthe testimony of Americans who knew him well during the last decadesof his life goes to prove that the reserve which was always his charac-teristic was a natural one, that he was a singularly modest man, andthat only on the rarest occasions did he let fall a word which showedhe knew—what indeed he could not fail to know—his own genius. II The Salon of 1833 accepted also a frame of medallions and no lessthan six water colors^which testify how he had employed his

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