DOI Heft:
Nr. 107 (January, 1906)
DOI Artikel:Halton, Ernest G.: The Staats Forbes collection, [3]
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.26961#0301
The Staats Forbes Collection
famous Jeanne cCAre ln the Metropolitan Museum,
New York. She is not a child of the soil, but rather
a daughter of the village on her way to school.
A fine example of M. Carolus-Duran’s gift of
colour is the well-known Beppino. The cap,
the dress, the chair, and the curtain in the back-
ground are all of rieh shades of crimson relieved
by the flaxen hair of the child, the flowers in his
hand, and the gold embroidery of his dress.
Painted in 1880, the artist’s best period, the picture
is one of great beauty, and may without hesitation
be placed amongst the finest child-portraits of
modern days. The white face and timid air of
this richly-clad small person appeal, and not in vain,
to our sympathy and affection. There is a touch
of pathos in the child figure, such as is seen in
Velasquez’s portraits of Don Baltazar Carlos when
young, notably that in the Wallace collection, and
indeed the whole composition displays more than
any other of the artist’s works we have seen the
influence of the Spanish master.
In this picture M. Carolus-Duran reaches a high
level. There has been no striving after mere
prettiness or pictorial efifect, but he has treated his
subject writh dignity and simplicity and painted
with rare technical power. Although belonging to
the same period it is a far more distinguished work
than the Marie-Anne Carolus-Duran, exhibited at
the last exhibition of the International Society in
London.
Honore Daumier was one of the greatest cari-
caturists the world has ever seen, but in his
Kissing the Baby he shows himself in quite a
different light. We recognise the same wonderful
insight into the character of his subjects, but no
longer used to caricature, but earnestly to portray
the strength of human emotion. The powerful
drawing of the labourer holding up the little child
conveys an impression of rough, almost brutal,
strength, tamed for the time being by strong
human affection, and yet there is an entire absence
of sentimentality. The colour scheme is sober
and dignified, and in its broad and vigorous
execution and lofty conception this little picture
“SOUVENIR OF MEUDON
BY H. HARPIGNIES
famous Jeanne cCAre ln the Metropolitan Museum,
New York. She is not a child of the soil, but rather
a daughter of the village on her way to school.
A fine example of M. Carolus-Duran’s gift of
colour is the well-known Beppino. The cap,
the dress, the chair, and the curtain in the back-
ground are all of rieh shades of crimson relieved
by the flaxen hair of the child, the flowers in his
hand, and the gold embroidery of his dress.
Painted in 1880, the artist’s best period, the picture
is one of great beauty, and may without hesitation
be placed amongst the finest child-portraits of
modern days. The white face and timid air of
this richly-clad small person appeal, and not in vain,
to our sympathy and affection. There is a touch
of pathos in the child figure, such as is seen in
Velasquez’s portraits of Don Baltazar Carlos when
young, notably that in the Wallace collection, and
indeed the whole composition displays more than
any other of the artist’s works we have seen the
influence of the Spanish master.
In this picture M. Carolus-Duran reaches a high
level. There has been no striving after mere
prettiness or pictorial efifect, but he has treated his
subject writh dignity and simplicity and painted
with rare technical power. Although belonging to
the same period it is a far more distinguished work
than the Marie-Anne Carolus-Duran, exhibited at
the last exhibition of the International Society in
London.
Honore Daumier was one of the greatest cari-
caturists the world has ever seen, but in his
Kissing the Baby he shows himself in quite a
different light. We recognise the same wonderful
insight into the character of his subjects, but no
longer used to caricature, but earnestly to portray
the strength of human emotion. The powerful
drawing of the labourer holding up the little child
conveys an impression of rough, almost brutal,
strength, tamed for the time being by strong
human affection, and yet there is an entire absence
of sentimentality. The colour scheme is sober
and dignified, and in its broad and vigorous
execution and lofty conception this little picture
“SOUVENIR OF MEUDON
BY H. HARPIGNIES