Studio: international art (71.1917)

Studio- Talk

BARCELONA.—As every one knows, others. Further, the Mobilier National lent us
the part of Spain where most sym- the series of ten remarkable tapestries represent-
pathy is felt for the noble and just ingL'Histoire du Roi (afterLebrun), the five after
• cause of the Allies is Catalonia, not Mignard, entitled La Galerie de St. Cloud, the
only because this region is the most advanced Old Testament series after the Coypels, and the
in art, in industry, and in ideas, but also two after Romain of Les Amours de Psyche.

because of the community of spirit and racial -

kinship which unite its people with their neigh- We are here, however, more immediately
bour, the great French nation. Catalan artists concerned with the three sections represent-
in particular have very great regard for France, ing contemporary art, and in passing to con-
fer Paris has at all times been their Mecca, sider these we cannot refrain from expressing
where many among them have reaped success our surprise that the presidents of the three
thanks to the hospitable acceptance of their Salons should have been able to send such an
works by the Salons of the French capital, imposing collection, having regard to the tre-
As an acknowledgment for this traditional mendous crisis through which France has been
hospitality, a group of artists in Barcelona passing, for the whole consisted of work executed
approached the municipality with a view to in or since the fateful year 1914.
organizing an exhibition of modern
French art as represented by the
three leading societies, the Artistes
Francais, the Societe Nationale, and
the Salon dAutomne. The idea
was adopted with great enthusiasm
by the municipality, and the result
was an imposing display, comprising
more than fifteen hundred works,
the exhibition of which in our
spacious Palace of Fine Arts was a
triumphant success.

The French Government, the
Paris Municipality, and a number
of private collectors, as a special
mark of respect towards the city
of Barcelona, lent an important
collection of works by French
artists of the second half of the
nineteenth century in order that
our public might have an oppor-
tunity of making themselves ac-
quainted with the achievements of
the forerunners of the contemporary
school. The works in this retro-
spective section, which was of
particular interest to our people,
were over fifty in number, and
included examples by Manet, Mon-
ticelli, Toulouse-Lautrec, Renoir (Le
Moulin de la Galette and four others),
Rodin, Puvis de Chavannes {Le
Pauvre Pecheur), Sisley, Legros,
Degas, Cezanne, Gaugin, Daumier, "jeune fille a sa toilette" by albert bartholomS

Pissarro, Carriere (Matemite), and (Exhibition ot French Art, Barcelona)

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