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International studio — 26.1905

DOI issue:
No. 102 (August, 1905)
DOI article:
Frantz, Henri: The Salon of the Société Nationale des Beaux-Arts
DOI Page / Citation link:
https://doi.org/10.11588/diglit.26960#0170

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particularly a hardness of touch and want of
modelling, which strike one especially in the head
of Charles Cottet. At the same time one cannot
help remarking that this is represented in
day-light, at which one has the right to be a little
surprised! Apart from these small criticisms of
detail, the work is decidedly strong and superior in
quality.
We will not separate Simon from his friend
Cottet, and I must say once more how well I think
of this greatly gifted artist. Being now the con-
secrated painter of Brittany, he might quite well
have chosen to remain attached to the subjects to
which he owes his reputation, certain of always
pleasing his public; but he has not done so. He
has sought a new field for the display of his talent,
and has been to Spain for that purpose. The
reminiscences that he has brought back with him
are quite worthy of those with which Brittany in-
spired him. He has looked upon the ancient
ramparts of Avila with the same eye for strong
contrasts and values which appreciated the character
of Brittany. The romance of the high cathedrals
rising against empurpled skies, of the squares with
their dark arcades, of the old walls with their
numerous turrets : all this is here represented in
masterly fashion, and one is glad to congratulate an
artist who shows himself to be a rare exception in
not feeling forced by success to continue in one line.

"FALLEN ASLEEP"

After the dignified robustness of Cottet we
appreciate the enveloping grace of La Touche. He,
likewise, has abandoned his former role as a
painter of melancholy parks and ruddy autumns,
and now appears as a modern painter of yWM
giving us scenes of love and passion,
amid charming old-fashioned furniture, in drawing-
rooms where the light, filtered through silken
curtains, falls tenderly on bare arms and bosoms.
The Salon has, as usual, various large pieces ot
decoration. I must first note that M. Besnard ex-
hibits a portion of his ceiling destined for the
Theatre Frangais. Although it is difficult to pro-
nounce upon a work which is not seen in the place
or light for which it is intended, it is none the
less easy to realise the puissant beauty of the horses
ascending the clouds, under the guidance of their
divine leader. Another of the masters of the
Nationale, M. Roll, exhibits a vast composition,
2% <?/* Z^/ig whose Turner-like setting is
particularly fascinating. M. Prouvd and M. Dag-
naux have been inspired by the same subject.
M. Auburtin's panel, pure in design and delicate
in form, justifies the commission given him by the
Government for the decoration for the Sorbonne.
Round this panel are some delicate little portraits
by the same artist, which one notes with pleasure.
Considerations of space prevent me from dilating
as I could wish on much that is interesting. I can

BY R. BUNNY


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