International studio (27.1905/1906(1906))

The Staats Forbes Collection

attractiveness of the picture. Of the other works
by the same artist in the collection, Evening shows
the influence of Corot, especially in the treatment
of the trees. 31 is a quiet, restful picture displaying
true poetic feeling.
Realism in a modified form may be said to
describe the work of M. Leon L’Hermitte. He
has a reputation as a peasant painter, but in Eng-
land he is better known purely as a landscapist,
and it is in this direction that he is represented in
the Staats Forbes collection. His Orchard m
Spring is a faithful rendering of nature, and the
freshness and feeling of the open air are expressed
with remarkable ability. The delicate tints of the
blossom are skilfully suggested and the figures in
the foreground are well posed. The Cornfield is a
beautiful piece of colour, and, moreover, exhibits to

some extent M. L’Hermitte’s capacity as a painter
of peasants. The figure of the man resting in the
midst of his labour is drawn with vigour and is full
of expression. The field of corn Stretching away
to the distant hill shines golden under a sky of
azure blue Another work by the same artist,
called The River Quay, is interesting in that it is
an unusual subject for him. It is well composed,
and the feeling of distance and atmosphere is
cleverly conveyed.
A remarkably good work by M. Claude Monet,
called The Path in the Wood, displays the artist’s
unrivalled skill in interpreting the Vibration of light.
Beautiful tints of green, brown, and blue are
softened by the grey mist into a subtle harmony
palpitating with atmosphere. M. Monet is one of
the greatest exponents of Impressionism in its
highest form. To him
Nature reveals herseif in
many beautiful moods, and
he delights in interpreting
these effects as they pre-
sent themselves to his
mind.
Before bringing these
notes on the collection to a
close, we should like to
draw attention to an inte-
resting fact. The art of
Whistler did not appeal to
Mr. Staats Forbes, and,
though he must have had
opportunities of acquiring
fine examples of the artist’s
work, he did not show
sufficient interest to take
advantage of them. It is
true he had at one time
two or three unimportant
drawings by Whistler, but
he did not possess any
work that could be said to
be representative of his
art. In view of the
nature of the collection,
this is somewhat difficult
to und erstand; yet may it
not be a further proof of
the independence of his
judgment, which was not
to be influenced by the
tide of public opinion ?
E. G. Halton.


“KISSING THE BABY” BY H. DAUMIER

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