International studio (32.1907)

Louis Gillot

tendency to seize and to fix the essentially modern
and fugitive aspects of contemporary life. Thus
he was fascinated by the d cor of the Universal
Exhibition of 1900, particularly when on summer
nights or autumn evenings this “ setting ” became
clad in the mystery and the hazy imprecision which
the artist loves. In his Fete aux Invalides (page
105) he shows a swarming crowd of striking reality
squeezing along past the motley booths, beneath
flags flapping in the wind and garlands of flowers.

Impulses such as those expressed in this work
have led M. Gillot to make some of the most
interesting researches of his career, have served as
starting point of an entire new series of produc-
tion. M. Gillot was justly struck by the poverty,
the ugliness, the lack of character and truth
in “commission” pictures, wherein the artist is
required to commemorate some great event—the
opening of an exhibition, the reception of a crowned
head, or some popular festival, or other similar
event. Not without reason have curses been hurled
for years past at the horrors of official painting!

Gillot asked himself would it not be possible to
give a newer form to pictures of this kind, and in a
certain degree to recall the setting and the senti-
ment of the scene depicted. He resolved to try
for himself. When M. Loubet visited London he
followed the various stages of the historic journey,
and noted all the phases of the reception offered by
the City of London to the President of the Republic.
M. Loubet entering the Guildhall afforded him an
admirable subject, with something inlime in the
ancient courtyard, glittering with uniforms and
crowded with spectators. At once he made a
rough sketch of a scene well worthy of attracting
the gaze of the colourist, and under the direct
influence of this vision he painted the excellent
picture which was subsequently displayed at the
Societe Nationale. This work achieved great
success, for one recognised therein the rejuvenes-
cence of the “ official ” picture, and it was
immediately bought by the State for the French
Embassy in London, where it now is.

M. Gillot began as an engraver. While still