Henri Frantz

Summary

Henri Frantz 1911 Encyclopædia Britannica (1911)

Though Courbet’s realistic work is not devoid of importance, it is as a landscape and sea painter that he will be most honoured by posterity. Sometimes, it must be owned, his realism is rather coarse and brutal, but when he paints the forests of Franche-Comté, the “Stag-Fight,” “The Wave,” or the “Haunt of the Does,” he is inimitable. When Courbet had made a name as an artist he grew ambitious of other glory; he tried to promote democratic and social science, and under the Empire he wrote essays and dissertations.
Source: Wikisource

Henri Frantz 1911 Encyclopædia Britannica (1911)

What is chiefly remarkable and admirable in her work is that, like her contemporary, Jacques Raymond Brascassat (1804–1867) , she represents animals as they really are, as she saw them in the country. Her gift of accurate observation was, however, allied to a certain dryness of style in painting; she often failed to give a perfect sense of atmosphere. On the other hand, the anatomy of her animals is always faultlessly true. There is nothing feminine in her handling; her treatment is always manly and firm.
Source: Wikisource

Henri Frantz 1911 Encyclopædia Britannica (1910)

Like many of the sculptors of the Renaissance he began life as a goldsmith. After studying under Bosio, the sculptor, and Gros, the painter, he was in 1818 admitted to the École des Beaux Arts. But it was not till 1823, when he was working for Fauconnier, the goldsmith, that he discovered his real bent from watching the wild beasts in the Jardin des Plantes, making vigorous studies of them in pencil drawings worthy of Delacroix and then modelling them in sculpture on a large or small scale.
Source: Wikisource

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