International studio (46.1912)

Eugene Boudin

from very early days practised the arts of etching
and black-and-white drawing. Long before D. Y.
Cameron, Muirhead Bone, and other Scotsmen he
was producing etchings, and although the public
recognition given to his work in this direction has
been small, I have no doubt that the art has
given him more personal pleasure and has aroused
his critical interest more keenly than any other
form of expression. As a producer of black-and-
white drawings Mr. Cadenhead has earned much
kudos. The one reproduced (p. 17) gives a good
idea of the vigour and strength of his pen-work.
Of all artists of the present day, Mr. Cadenhead is
the least influenced by the call of the popular taste,
the methods of a coterie, and the humouring of
his own reputation. He is in no way a self-centred
individualist, bolstered up with pride. But he
paints as he must, indifferent to the vogue whether
of the schools or the saleroom. What, in sport,
is called “ pot-hunting ” attracts him not at all. It
often needs the pressure of friendship to secure
his consent to requests for the loan of pictures to
public exhibitions. Into antagonistic atmospheres
he will not enter, and yet, despite his aloofness, no
man is more generous in his judgment of art, and
this generosity, joined with a catholicity which
does not embrace mediocrity or philistinism, has so
earned the recognition of his contemporaries as to
place him very often in positions of selection, where
prejudice and mental insularity would;be fatal.

A PAINTER OF THE SEA:
EUGENE BOUDIN. BY HENRI
FRANTZ.
When we come to consider the work of any of
the great landscape painters, one of the first things
that strike us is that each artist would seem to
appropriate to himself some particular locality with
which his name should remain for ever associated.
For instance, we cannot separate the name of
Corot from the ponds of Ville d’Avray, any more
than it is possible to think of Theodore Rousseau
without there arising in the memory a vision of
the huge oaks of Fontainebleau. Painters have
divided up the landscapes of France among them-
selves, so much so that it is quite common to hear
it said by some one who views a new scene or
landscape for the first time : “ Look ! a real Turner
sunset! ” “ One of Pointelin’s meadows ! ” “A
Harpignies river ! ” Can we see the canals of the
North without thinking of Jongkind, and does not
one instinctively couple the name of Cazin with
the plains of the Somme, Lepere with the leafy
glades of La Vendee, Sisley with the sunlit streams
of the lie de France?
Eugene Boudin is par excellence the painter of
the coast of Normandy. From Cherbourg to the
Somme there is hardly a shore he has not painted,
not a single port he did not visit, nor a cliff the
structure of which he has not studied; and his


“la plage de trouville”

BY EUGENE BOUDIN

20