International studio (16.1902)

Studio- Talk

which will rank among the most interesting
of the season. It was a pleasure to see again
certain works which won for their authors their
first big successes, and all the exhibitors were
represented by a goodly number of canvasses, old
and new. Prominent among the exhibitors were
MM. Charles Cottet, who once more showed his
beautiful Procession a Plougastel-Daonlas ; Henri
Martin, with his finely - conceived decorative
figures, and his striking landscapes from the
South of France; Henry d’Estienne, Alphonse
Dinet, Jules Adler, Maurice Eliot, Charles Duvent,
with his Procession a Bruges, Jean-Pierre Laurens,
Mile. Dufau, Mile. Delavalle, MM. Morisset,
G. Rochegrosse, Emile Wery and Ernest Laurent.

At Georges Petit’s the “ Societe nouvelle de
Peintres,” has just held its exhibition. Pre-
judiced as the writer of these lines may be in

favour of this association—which was founded by
him, and of which he is the president—he has,
nevertheless, no hesitation in joining with his most
eminent colleagues on the Parisian press in pro-
claiming the success of this exhibition. More-
over, a mere recital of the exhibitors’ names
suffices to show the value of the display.

With painters like Aman-Jean, Baertsoen, J. E.
Blanche, Brangwyn, Claus, Cottet, Dauchez, Duhem,
Walter Gay, Georges Griveau, La Touche, Le
Sidaner, Henri Martin, Menard, Priner, Simon,
Thaulow, Vail, and Zuloaga; with sculptors such
as Rodin, Alexandre Charpentier, Dejean, Desbois,
Camille Lefevre, and Constantin Meunier, it is not
surprising that the displays of the “Societe Nou-
velle” should be regarded as among the finest in
Paris. Antonio de la Gandara unhappily found
it impossible to take part in the exhibition.
Two beautiful works, Apr'es
le Dejeuner, by Rene Prinet,
and Germain-, a portrait of
a little peasant girl, by
Jacques-Emile Blanche, are
now reproduced.

Jean-Fran^ois Millet’s Le
Berger, which also we are
fortunate enough to be able
to reproduce, forms part of a
private collection belonging
to a friend of-The Studio,
who has been kind enough
to allow a photograph of his
picture to be taken for the
purposes of these notes. It
is a work of absolute beauty,
and, although but little
known, takes a high place
among the works of the great
artist. It dates from the
painter’s best period, and I
regard it as one of the very
finest things bearing the
signature of Millet.
G. M- '
OME.—Some years
ago, the late Pr°"
fessor Bruno
Pieglheim revived
the art of pastel painting in
Germany, and soon had