There is, in the work of Puvis de Chavannes, so much harmony and balance; the place occupied by each figure is so perfectly planned to accord the unity of the whole, that one does not perceive at first, because of the wise ordering of the assembled parts, how many-sided the artist's genius was. And so it happens that the landscape painter in him does not appear excepting under analysis. Yet few artists have advanced the science of landscape so far; indeed, in all his compositions it holds a position, if not of first importance, at least one equal to that of his figures. In his eyes it was not a matter of convention, a decoration, an accessory, but an indispensable part of the picture, so indispensable indeed that, without the landscape the picture would not exist. In short, it is in his landscape that Puvis de Chavannes has always placed the local colour of his compositions, and not in his figures. The latter are generally clad in antique fashion, in order to remain representative of humanity in general, but the setting is local: his Ave, Picardia Nutrix, for instance, shows us the land of Picardy with its level plains and its melancholy horizons: similarly, the two frescoes in the Palace of Longchamps reproduce faithfully the sun-flooded coast of Marseilles and the animation of its quays;—and yet the hurrying crowds upon them belong to no definite race nor to any determinable epoch.

It is always so in the paintings of Puvis de Chavannes: the landscape and the living figures harmonize, fit in, complete each other, and the consummate art of the landscape painter yields in no way to that of the painter of figures.

Puvis de Chavannes has been criticized on the ground that in such of his pictures as evoke antiquity, he sacrificed accepted tradition and acquired knowledge. From this to a direct charge of ignorance was an easy step; and it was quickly taken. That the artist attached a mediocre importance to accuracy in decoration or antique costume, there can be no question. Truth, in his eyes, consisted less in the detailed reconstruction of garments than in the faithful representation of that eternally living model, the human soul, over which whole centuries have passed, without availing to modify it. All else is merely accessory and secondary, if not actually negligible. At the same time, no one was ever more truly impregnated with the spirit of antiquity, as he had imbibed it from his readings, from his travels and from his own meditations. Contrary to what has been thought, he was not proud; nor held himself aloof from all other schools of painting except his own. Nothing could be further from the truth. Puvis was acquainted with all the schools; and no one admired more sincerely than he the great masters of each and every country. He had traversed Italy, Germany, and the Netherlands, examining, studying, admiring. And here is precisely wherein his great glory consists; that having studied all methods, analyzed all processes, he still remained true to himself,—in other words, that he was a painter of inimitable originality.

Puvis de Chavannes kept abreast of all the ideas that stand for personality and progress. Far from being a recluse, solely concerned with his own painting, he followed the contemporary literary movement, and none of the happenings that took place around him escaped his knowledge.

Nevertheless, his chief preoccupation was his art and his desire to express, with his brush, the greatest possible degree of human nature. This he achieved in his magnificent series of immortal works; but it was only at the cost of a vast amount of conscientious labour. Few masters have had so keen an intuition of beauty, or a higher and more spontaneous inspiration; and no one, perhaps, has been so distrustful of himself, of his inspiration, of his intuition. He did not surrender himself to them until he had submitted them to the test of searching argument and uncompromising common sense. It is due to this careful weighing in the balance, to this wise mingling of youthful enthusiasm and mature severity that the work of Puvis de Chavannes owes that harmonious beauty that insures it an eternal glory.

And so, when in 1898 he passed away, not a dissenting voice was raised amid the concert of eulogies and of regrets which marked his end. For a long time previous, Puvis de Chavannes had ceased to have detractors; admiration had stifled envy. And, from the moment that he crossed beyond the threshold of life, Puvis de Chavannes entered fully into immortality.