International studio (20.1903)

"THE LOVE-STRICKEN PAGE" BV DOMENICO MORELLI

the names of AIM. Bejot, Dircks, Giron, Max,
Minartz, and Vieiilard, the last-named showing
great advance in his vigorous and life-like drawings.
As for M. Francis Jourdain, by turns engraver,
water-colourist, and, especially, decorator, I shall
have an opportunity soon of referring to him at
greater length.
Every work by M. Jean Dampt is marked so
plainly by the stamp of a rare personality that not
even the smallest production of this artist—whose
hardest task is to satisfy himself—should be
passed over in silence. Unhappily, M. Dampt
troubles very little about the public, the result
being that his sculptures usually pass from his
own <z/g&7* straight into private collections without
having been displayed in the exhibitions. Thus
THE STUDIO is fortunate in being enabled to re-
produce a remarkable <?/* a (p. 302),
which figured in the last Salon. Herein one per-
ceives the sculptor's art—simple, moving and concise
—and, above all, his admirable knowledge of the
various For M. Dampt, whether he
work in wood, in ivory, or in marble—in this
case it is greyish-pink marble—does everything
himself, from first to last. No artist could possibly
be more familiar with the spirit, the "logic," of every
material; he stands almost alone in realising the

ideal of the complete sculptor, who is artist and
artisan, creator and worker, in one.

In the Bernheim Galleries we have just had an
interesting exhibition by French humorists, among
the most notable things being the witty and delicate
drawings of Leandre, the bolder, cruder efforts of
Hermann Paul, and Sem's laughable But
why did not the organisers of this exhibition give
the chief place he deserves to Forain, the un-
contested master, without whom the history of the
modern rwyaA would be altogether
incomplete ?
H. F.
IS HT UNICH.—The International Exhibition
I % / H organised by the Society of the Seces-
! V n sion in Munich, in the building on the
Konigsplatz, shows more character than
that of last year; still the fact cannot be disguised
that the representatives of the movement have
come to a deadlock. The founders and more
famous men of the school, Stuck, Uhde, Keller and
others, have long passed the summit of their en-
deavour; and the clever young artists of modern
Munich do not adhere to the Secession, but look
for their inspiration to the remote past, and work
together in small associations or for the illustrated
3°'