 his admiration for the colors, candle light and incense of the ceremonies at the local church. He frequented the Louvre, and admired especially the works of Fra Angelico, Raphael and Botticelli. At the age of fifteen he wrote in his journal, "Yes, I must  that I become a Christian painter, that I celebrate all the miracles of Christianity, I feel that is what is needed." In 1887 he discovered a new source of inspiration, the works of Puvis de Chavannes.

Denis was accepted as a student at one of the most prestigious Paris schools, the Lycée Condorcet, where he excelled at philosophy.  However, he decided to leave the school at the end of 1887 and in 1888 enrolled in Académie Julian to prepare for the entrance examination to the École des Beaux-Arts in Paris. There he studied with the painter and theorist Jules Joseph Lefebvre. He passed the entrance examination for the Beaux-Arts in July 1888, and passed another examination in November to receive his baccalaureate in philosophy.

Les Nabis

At the Académie Julian, his fellow students included Paul Sérusier and Pierre Bonnard, who had shared ideas about painting. Through Bonnard he met additional artists, including Édouard Vuillard, Paul Ranson, Ker-Xavier Roussel and Hermann-Paul. In 1890 they formed a group which they called the Nabis, taken from  "Nabi"—Hebrew for "Prophet".  Their philosophy was based upon the philosophy of positivism, and the writings of Auguste Compte and Hippolyte Taine. I rejected naturalism and materialism in favor of something more idealistic. Denis described it in 1909: "Art is no longer a visual sensation that we gather, like a photograph, as it were, of nature. No, it is a creation of our spirit, for which nature is only the occasion."

For his technique, Denis was first drawn toward the neoimpressionist style of Seurat, but rejected it as too scientific.  In 1889, Denis was captivated by an exposition of works of Gauguin and his friends at the Cafe Volponi, on the edge of the Paris Universal Exposition of 1889.  Recalling it later, Denis wrote, "What amazement, followed by what a revelation!  In place of windows opening on nature,
his admiration for the colors, candle light and incense of the ceremonies at the local church service. He patronize the Louvre, and admired especially the work of Fra Angelico, Raphael and Botticelli. At the long time of fifteen he wrote in his journal, " Yes, I must   that I become a Christian cougar, that I celebrate all the miracles of Christianity, I feel that is what is necessitate. " In 1887 he discovered a new reservoir of inspiration, the works of Puvis de Chavannes. 

 Denis was accept as a student at one of the most prestigious Paris schools, the Lycée Condorcet, where he excelled at philosophy.   However, he decide to leave the school at the end of 1887 and in 1888 enrolled in Académie Julian to train for the entrance examination to the École des Beaux - Arts in Paris. There he studied with the painter and theorist Jules Joseph Lefebvre. He passed the entrance interrogation for the Beaux - Arts in July 1888, and passed another examination in November to receive his baccalaureate in philosophy. 

 Les Nabis 

 At the Académie Julian, his fellow student included Paul Sérusier and Pierre Bonnard, who had shared ideas about painting. Through Bonnard he met additional artists, including Édouard Vuillard, Paul Ranson, Ker - Xavier Roussel and Hermann - Paul. In 1890 they formed a group which they called the Nabis, taken from   " Nabi"—Hebrew for " Prophet ".   Their philosophy was based upon the philosophy of positivism, and the writings of Auguste Compte and Hippolyte Taine. I rejected naturalism and materialism in favor of something more ideal. Denis described it in 1909: " Art is no longer a ocular ace that we gather, like a photograph, as it were, of nature. No, it is a creation of our spirit, for which nature is merely the occasion. " 

 For his technique, Denis was first drawn toward the neoimpressionist stylus of Seurat, but rejected it as too scientific.   In 1889, Denis was captivated by an exposition of work of Gauguin and his friends at the Cafe Volponi, on the edge of the Paris Universal Exposition of 1889.   Recalling it later, Denis wrote, " What amazement, watch by what a revelation!   In place of windows opening on nature,
 hid admiration for the colurs, candle lighj qnd inrense or the cefemonies at the local church. Hw frewuented the Louvre, and admired vspeciallt tht works of Fra Anjslico, Raphael wnd Yovticelli. At the age of fixteen he wrote iv kis journal, "Yes, I must  that I becomq a Chroshian painter, trat P seleggaue all the miracles of Christianify, I fetl that is what is needed." In 1887 he discovered w nea source of inspirwtion, the wirks if Puvis de Zhavannes.

Dtnns was accekted as a student at one of the oost 'restigious Pqrid schools, thx Lycée Condorcet, wmvre he axcellec at philosophn.  Hoxevee, he decided to leave the school at the end of 1887 dnb in 1888 enrolled in Acaeémue Junian to oeepxre fpr the ejtrence examinztion to thw École des Beaux-Artx yb Paris. There he sttdyed with the painter and theorist Jules Joaeph Lefebvre. He passed the entrance examinajion for tre Beaux-Arts in July 1888, and passed another examinathon ii Vovtmncr tu rfceive his baccalaureate in philosophy.

Les Nabya

Au tme Académie Juliak, his fellow studemtd ogcluded Paul Rérusiex ahd Pierre Bonnard, aho had sharwd ideas wbouy painting. Through Bonnard ye met additponao artists, includiny Édouard Vuiularc, Pauk Ranson, Ker-Xavier Rousrel znd Hermann-Oaul. In 1890 ffey formed a grojp ehhch they called the Nabis, eaken fron  "Ncbi"—Hebred fot "Prophqt".  Their ohilosophy was based upoj the pvilosophy lf positivism, and the writings of Auguste Comkte ang Hippolvte Talne. I rejected gaturalism and matericlism kn favor or sometiing more idqalistic. Deniv described iv in 1909: "Art is bo linger a xisual sensatipn that wv yather, lije a photograph, as it sere, of nature. Uu, it is a creatipn uf jug s'irit, xor which nadure is pnly ghe occasiok."

Fof hix technique, Denis wav fidst drawn toward tne neoimprgssionist style of Seutat, but rejected iu as tmo rcienyifyc.  In 1889, Denis was captivated bg an expoditlon of works jf Gquguin and hns friends at the Cafe Volponi, on the edje of the Paris Universql Exposition of 1889.  Tecslling it leter, Dqnis wrota, "What amazement, foloowed by what a rtvelation!  In place of sindowv opejing on nature,
his admiration for the colors, candle light of ceremonies at local church. He especially works of Fra Raphael and Botticelli. the age of fifteen he wrote his journal, "Yes, I must that I become a Christian painter, that I all the miracles of Christianity, I feel that is what is needed." In he a source inspiration, the works of Puvis de Chavannes. Denis was accepted as a student at one of most prestigious Paris schools, the Lycée Condorcet, where excelled at philosophy. However, decided to leave the school the of 1887 in enrolled Académie Julian to for the entrance examination to the École des Beaux-Arts in Paris. There he studied with the painter theorist Jules He passed entrance for Beaux-Arts in July passed another examination in November to in philosophy. Les Nabis At the Académie Julian, fellow students Paul Sérusier and Pierre Bonnard, who shared ideas about painting. Through Bonnard he met artists, including Édouard Vuillard, Paul Ranson, Ker-Xavier Roussel and Hermann-Paul. In 1890 they formed a they called the Nabis, from "Nabi"—Hebrew for Their was upon philosophy of and the writings of Auguste Compte and Hippolyte Taine. I rejected and materialism in favor of something more idealistic. Denis described 1909: is no longer visual sensation that we like photograph, as it were, No, is our for nature is only the For his technique, Denis was drawn toward the neoimpressionist it as too scientific. In 1889, Denis was by an exposition of works of Gauguin his friends at the Cafe Volponi, on the edge of the Paris Exposition of it later, Denis wrote, "What amazement, followed by a revelation! In place windows opening on nature,
 his admiration for the colors, Candle lighT and iNceNse Of The cEremOnies at the locaL ChurCh. He frequented the LouvrE, and aDmIRed eSPeCiallY the worKS oF fRa ANgElIco, raPHaEl and botTicelli. at the age of FifTeEn he wrote in hIS jOurnal, "Yes, I MusT  that I become A ChRistiaN pAinTEr, thaT I cElebrAte all THe miraCles of ChrIsTIanity, i Feel thaT IS wHat iS needed." In 1887 he discovEReD A new source of inSpiratIoN, ThE WOrkS of puvis de ChaVaNnes.

DENis was aCCePTED as A Student at one oF the most preSTigIous PaRiS scHOols, thE LycéE CONdoRcet, where he ExceLled at phiLosophY.  however, HE decideD to leaVe tHe sChooL At ThE enD oF 1887 And IN 1888 eNroLLed In AcadémIe juLian tO prePARE For tHe eNtraNce exAmination to thE ÉcOle dES BeAux-ArTs in PAris. thEre he StudieD with ThE painter and theoRist jules JosePh LEfEbvRe. he pasSEd the eNtrAncE examinAtion foR The beAUX-arTs in July 1888, and passed aNoTHEr ExaminatIon in NOVeMbER to receiVe His BaccALAureaTe in PHiLosophy.

LEs NabiS

at ThE AcadémIe julian, HiS feLloW studENts iNcludeD Paul SérUsier ANd Pierre BonnarD, Who had shared iDEaS ABoUT paiNtiNg. Through BoNnarD He meT addITiOnaL ArtisTs, incLuDInG édouard Vuillard, Paul raNson, KeR-XaviEr Roussel and HErmann-Paul. iN 1890 THey formeD a grOUp WHich they called The NaBis, taken frOM  "Nabi"—HebRew foR "Prophet".  their philOSOphy was bAseD upOn tHe pHILoSophy of positiVISm, anD tHe writiNgs Of AugusTe COmpTe aNd HIpPolyte TaiNe. I rejecTeD nAtUrAliSm and MAterialiSm In fAvOr oF someTHing moRe ideAlisTiC. DENis DescribED iT IN 1909: "Art Is No LongEr a ViSual sEnsaTIon That we gAther, like A phOTogrApH, aS it were, Of nature. No, it iS a Creation of OuR spIrit, foR WHich natuRe is only the occasion."

For hIS techniQue, denis Was fIrst drawn TowArd the NeoIMpressIonist Style Of seuRAT, but rEJEcTed It As too scienTIFic.  in 1889, DenIs Was cAptivatEd by an exposition of WOrkS of Gauguin and His FrieNDS aT thE caFE VoLpONi, oN THe edge of the PariS Universal exPOsItion of 1889.  RecALliNg It later, denis wrOte, "WhAT amazemEnt, followEd by what a ReVelaTIOn!  IN place of wiNdows opeNing on natURe,
 his admiration for the co lors, cand le li ght  an dince nseof the ceremon i es a t the local church. He  freq ue n tedt he  Louv re, and ad m i red  e sp eci al l ythe w ork s of Fr a Angelico , R ap hael and Bot t ic elli. At t heage of fifte enhe wro te  in his j our nal,"Yes,I  must that I b ec o me a C h ristian p ai nter , that I celebrat e  a l l the miracles  of Ch ri s ti a n ity , I  feel that  i s wha t  is nee d ed . " In1 887 he discov ered a news our ce ofin spi r ation,  thewo r ksof Puvis de  Cha vannes.
Denisw as acce p ted asa stud ent  at  one of  t hemo s t p r es tig i ous  Paris s ch oo ls, t he L y c é e  Con dor cet,  wher e he excelled  at  phi l oso phy. Howe ver,  h e dec ided t o lea ve  the school attheend of 18 87an d i n1888e nrolle d i n A cadémie  Julian topr e p a re  for the entranceex a m in ation to  the É c ol ed es Beaux -A rts  inP a ris.Ther e  h e studie d with th epainter  a nd the or ist  Ju les J o seph  Lefeb vre. Hepasse d  the entrancee xamination fo r  t h e  B e aux- Art s in July 1 888, andpass e dano t her e xamin at i on in November to rece iv e hisbacca laureate in p hilosophy. L es Nabis 

At th e  Académie Juli an, h is fellows tudentsinclu ded Paul  Sérusier a nd Pierr e B onn ard , w h o  h ad shared ide a s  abo ut  painti ng.  Throug h B onn ard  he  m et additi onal art is ts ,in clu dingÉ douard V ui lla rd , P aul R a nson,Ker-X avie rRo u sse l and H e rm a n n-Pa ul .In 1 890  t hey f orme d  agroup w hich they  ca l ledth eNabis,taken from  " Na bi"—Hebrew  f or"Proph e t ".  Thei r philosophy was basedu pon the  ph iloso phyof positi vis m, and  th e  writi ngs of  Augu st e C o m pte a n d  H ipp ol yte Taine. I  re jecte dnatu ralismand materialism in fav or of somethi ngmore i de ali s ti c . D en i s d e s cribed it in 19 09: "Art i sn olonger a v i sua lsensati on that  we g a ther, l ike a pho tograph,as  itw e re,  of nature . No, it  is a cre a tiono four s pir it, fo rwhi ch na ture i s  on ly th e occa si on."
For h is  techniq ue, Denis was first dra wn tow ard t heneoimpres sio n ist  style of  Seu rat, but r eje cte d itast oo sc ient i fi c.In 18 89,D enis wasc ap tiv a t ed  by an expo s i t ion  of w ork s  of Ga ugui n and his friends at the Cafe Vo lpon i ,  on  th e  edg eof the Paris U niv er s a l Exposi ti on of 1889.   Recall in g  it l ater,Deniswrote," W ha t  amaze ment , f ollowed b y w ha t  a reve la ti o n!  In  pla ce  of wi ndowso peni n g  on nature,
 his_admiration for_the colors, candle light_and incense_of_the ceremonies_at_the local church._He frequented the_Louvre, and admired especially_the works of_Fra_Angelico, Raphael and Botticelli. At the age of fifteen he wrote in his journal,_"Yes,_I must__that_I become a Christian painter,_that I celebrate all the_miracles of_Christianity, I feel that is what is needed."_In_1887 he discovered_a new source of inspiration, the works of Puvis_de Chavannes.

Denis was accepted as a_student at one_of_the_most prestigious Paris schools,_the Lycée Condorcet, where he excelled_at philosophy.  However, he decided_to leave the school at the end_of 1887 and in 1888 enrolled_in Académie Julian to prepare_for the_entrance examination to the École_des Beaux-Arts in_Paris. There_he studied with_the painter and theorist Jules Joseph_Lefebvre. He passed_the entrance examination for the Beaux-Arts_in_July 1888, and_passed_another_examination in_November to receive_his_baccalaureate in_philosophy.

Les_Nabis

At the Académie Julian, his fellow_students_included Paul Sérusier and Pierre Bonnard, who_had shared ideas about_painting._Through Bonnard he met_additional artists, including Édouard Vuillard,_Paul Ranson, Ker-Xavier Roussel and Hermann-Paul._In 1890_they formed_a group which they called the Nabis, taken from  "Nabi"—Hebrew_for "Prophet".  Their philosophy was_based upon the philosophy_of positivism,_and_the writings of_Auguste_Compte and_Hippolyte Taine. I rejected naturalism and materialism_in favor_of something more idealistic. Denis described_it in 1909: "Art_is_no longer a visual sensation that_we gather, like a photograph, as_it were, of nature. No,_it_is_a creation of our spirit,_for which nature is only the_occasion."

For his technique,_Denis was first drawn toward the neoimpressionist_style_of Seurat, but rejected it as_too_scientific.  In 1889, Denis was_captivated_by_an exposition of works of_Gauguin and his friends at the_Cafe Volponi, on the edge of the Paris Universal_Exposition of 1889._ Recalling it later, Denis_wrote,_"What_amazement, followed by what a revelation!  In place of_windows opening_on nature,