This historic book may have numerous typos and missing text. Purchasers can usually download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1886 edition. Excerpt: ... Antoine Louis Barye NTIMATELY associated with the great phalanx of genius so sympathetically and instructively considered by M. Wolff was one who in his own region of art stood second to none that then was or that had gone before. This was BARYE, the greatest and, in his time, the most misunderstood genius of the century. Inasmuch as a not indifferent opportunity is afforded to know the work of the great sculptor, it will be interesting to note what thai accomplished critic, M. GustAve Planch, wrote of him in 1854, when there were yet to be unfolded over twenty years of his glorious career. JOR twenty years Barye's works have been before the eyes of the public; they are numerous, and deservedly admired, but notwithstanding this, no one has yet taken the trouble to study them as a whole. I am going to try to fill that vacuum. M. Barye's talent is at the present time in the fullness of its maturity, but he has not spoken his last word. Notwithstanding its continuance and its diversity, it is to be doubted if he stops at the point he has attained. Therefore, what I will say of his collective work must not be considered as final. Is it necessary to add that I do not pretend, in expressing my own opinion, to anticipate that of posterity? In a case like this, modesty is always prescribed by good sense. If I venture at present to form an opinion, it is because M. Barye's talent, without being false to its origin, has nevertheless already undergone a succession of transformations; and that there is in these same transformations matter for interesting study. I am perfectly sure that to this day M. Barye adheres to the convictions he held twenty years ago; but in ferreting out with as much ardor the secrets of nature, which he took as a model and...