By Seares F. H.
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It is also a school of simplicity, because lime admits only a restricted number of colours. Since the example of Paul Baudouin, the fresco already produced remarkable works: the splendid ensemble by Bourdelle at the Théâtre des Champs-Élysées, the compositions of Marcel Lenoir at the seminar of Toulouse, heavy, systematic, but truly powerful, those of Caro Delvaille, those of Henry Marret, in particular in the Church of Saint-Louis de Vincennes. It seems that this technique must benefit from the appreciation of large flat surfaces, and it must offer reinforced concrete – a material of a rather poor appearance, or with asbestos cement (a substrate used by Marret), a suitable decoration for it.
The Reception by Louis Dejean was not an isolated statue. Standing upright on a base in front of the pylons of the Porte de la Concorde, this figure of woman, semi-nude and gilded, animated the monumental entrance with its silhouette. It looked very much like the recent creations of a sculptor who, having started off from modelling spiritual representations which carry on the methods of yesteryear, had gradually been elevated to a more vigorous and more general art, without losing anything of its sensitivity.
René Paul Chambellan, Iron grills at the entrance to the executive suites of the Chanin Building, New York, 1928. Wrought iron and bronze. Cooper-Hewitt, National Design Museum, Smithsonian Institution, New York. 62 To respect architectural dimensions, many sculptors made sure to establish their reliefs very low, protected by the bare part of the wall, such as Saupique and Jouant, creators of the flat panels encrusted below the external doors of the Court of Trades. On the outer walls of the pavilions of Sèvres, the graceful medallions of the late Max Blondat, and on the doors of the pavilion of Le Bon Marché, the compositions of Céline Lepage were done in champlevé.
Absolute Scales of Photographic and Photovisual Magnitude(en)(7s) by Seares F. H.