International studio (23.1904)

The Societf Nat ion ale ties Beaux-Arts

it has never before been exhibited. Her Royal
Highness is represented full-face, the light from a
lamp with a rose-coloured shade, making a nebulous
glow about her, the carpet, with the hangings of
the background of a deeper shade of red, intensify-
ing the warmth and glow of the general effect.
Besnard’s second exhibit is a Portrait of Admiral
Sir Edmund Commerel/., painted as long ago as
1884, which is interesting, not only on account of
the boldness of- its execution, but also because it
proves anew how accomplished a draughtsman is
its artist. His reputation as a colourist is, as is
well known, so great that this quality is liable to
be overlooked, so that it is just as well for the critic
to be reminded of it as he is here.
There are, moreover, several other good portraits
of men in the present Salon. With Besnard’s paint-
ing of the Admiral may well be classed the Portrait
of Jean Lorrain by La
Gandara, as well as the yet
more notable and vigorous
pictures of men by Mile.
Delasalle and the Portrait
of Blanche by Lucien Simon,
the last fine alike in concep-
tion and in execution. The
Portrait of M. Barres by
Blanche, who also exhibits
the Cherubin de Mozart, is
one of his very finest works,
and deserves to be placed
in the first rank. But the
most noteworthy of all the
portraits here collected is
undoubtedly that of Lord
Ribblesdale by JohnS. Sargent,
that attracted so much notice
when exhibited in London,
so remarkable is the sim-
plicity and sincerity of the
execution of the American
artist, who in it shows his
kinship with the greatest
masters of the past. It is,
indeed, a work belonging
not to the present epoch
alone, but to all time.
As much cannot be said 01
the various portraits of women
of Boldini. Their technique,
it is true, is positively dazzling,
their execution marvellous;
but we cannot help feeling
that the artist has gone

too far, that in his brilliant achievement he has
eliminated all sentiment, and it is impossible not
to ask ourselves with something of trepidation
what our sons are likely to think of these hysterical
poses. What a contrast is presented by the two
portraits of women by John La very ! How full of
charm and repose ! They are truly amongst the
most delightful and seductive works ever produced
by the English school, yet there is about them an
indefinable stamp of modernity. The young girl,
clasping a quantity of flowers in her arms, is of an
incomparable charm.
Foreigners are indeed very well represented in
Paris this year. One of those who has attracted
the most notice is Rupert W. Bunny, whose beauti-
ful painting, After the Bath, was bought by the
French Government on varnishing day. Its com-
position recalls that of the Pre-Raphaelites, and it


PORTRAIT OF PRINCESS MATHILDE BY P. A. KESNARD

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