File:The Verdict, by Jean-Louis Forain.jpg

Identifier: internationalstu75newy (find matches)
Title: International studio
Year: 1897 (1890s)
Authors:
Subjects: Art Decoration and ornament
Publisher: New York
Contributing Library: Robarts - University of Toronto
Digitizing Sponsor: University of Toronto

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at went from parish toparish during periods of perpetual adoration, tookyoung Forain to all the churches of Paris and evento those of the banlieuc. A second encounter, also in the Louvre, waswith the sculptor, Carpeaux, who discovered theboy copying Michael Angelos head of a satyr.The result was an invitation to work in Carpeauxsstudio, faubourg St. Honore. The day Foraincalled he found Gustave Geffrov present with PaulHervieu; but the master was out. Forain tookclaj that he saw there and modeled a figurinewhich he left with his name and address. Car-peaux, who was at that time draw ing master to theprince imperial, wrote to his new protege, It ismagnificent, but you will not repeat it lor thirtyyears. During that time you must learn and nolonger divine. And so, Forain began to learnunder Carpeaux, who sent him out into the streetto hunt for a blind man under a porte-torder that the boy mightobservation one of the figures in a drawnat work upon. M ARCH I 9 2 2 /oi ty-one inceRnACionAL
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Forain continued to frequent the Louvre andalso drew from prints in the National Library.Here, quite by accident, he chanced on a portfoliool Goya. It was lor me, he confided to M.Geffroy, a thunder-bolt. Such are the origins and the studies of Forainthe draughtsman. In painting he made his firstessay in the studio of Andre Gill. These studieswere interrupted by the siege of Paris and theCommune and later by military service in1874--,-. In the years that immediately followed, Forainfound his true masters and comrades—EdouardManet, Edgar Degas, the etcher Marcellin Des-boutin. Meetings that were at first by chance,developed into regular reunions that finally took-place eaeli evening at the cafe de la Nouvelle-Athenes, Place Pigallc, Montmartre. Each one ofthe artists, called Bohemians, had his regularhabits. Desboutin left his friends at half pastnine; Manet at eleven. Degas was more easilypersuaded to stay and talk. Forain was theurchin of the meetings. He charmed his eldersby his b

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