DOI Artikel:
Frantz, Henri: The old and new salons in Paris
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.43450#0118
The Old and New Salons, Paris
Besides these few surprises one remarked with
interest the contributions of the regular exhibitors
at the Nationale. Among those who have achieved
works of distinction this year one must mention
M. Aman-Jean, who showed a large decorative
painting, Les Quatre Elements, commissioned by the
State for an amphitheatre in the new Sorbonne—
a very interesting work, and one showing all the
decorative talents of this artist. M. Maurice
Denis has also specialised in these big decorative
pictures. His Age d'Or, consisting of five panels
executed for the hotel of the Prince of Wagram,
showed this artist’s great love of sympathy and
unity—essential features of decorative painting.
Auburtin did not show this year any large
decorative compositions, but his two important
panels, Sons de Flute and Chants sur lEau,
showed him to be before all else a decorator who
follows the fine traditions of Puvis de Chavannes,
and revealed the artist’s fine imaginative qualities,
combined with an extreme beauty of composition.
M. Roll, the president of the society, from whom
we had last year a very fine decorative work
destined for the town of Buenos Ayres, did not
this year sign any work of such imposing dimensions.
Nevertheless in his self-portrait we had one of the
best portraits of men that we have seen for some time.
In another picture, representing a fight between two
stallions, M. Roll gave evidence of his finest qualities
of energy and spirit. It is generally conceded that
M. Gaston La Touche surpassed himself this year.
One has seen nothing more seductive, more rich
in colour or better composed than this picture, in
which charming young girls are pelting with roses a
statue of Love.
The landscapes by Raffaelli were of premier
order. When the artist was asked how he con-
trived to avoid ever giving the slightest evidence of
flagging power he made in the writer’s presence
this delightful response : “ It is because I start each
new canvas, no matter what it be, with the same
fever, the same emotion, and the same anxiety as I
did when I was twenty years of age.” These words
give us a clue to the comprehension of the works he
exhibited this year, and chiefly Les Petites Maisons
au Bord de lEau and La Place St. Jean a Nemours,
“jeunesse joyeuse”
106
(Artistes Francais)
BY MAX BOHM
Besides these few surprises one remarked with
interest the contributions of the regular exhibitors
at the Nationale. Among those who have achieved
works of distinction this year one must mention
M. Aman-Jean, who showed a large decorative
painting, Les Quatre Elements, commissioned by the
State for an amphitheatre in the new Sorbonne—
a very interesting work, and one showing all the
decorative talents of this artist. M. Maurice
Denis has also specialised in these big decorative
pictures. His Age d'Or, consisting of five panels
executed for the hotel of the Prince of Wagram,
showed this artist’s great love of sympathy and
unity—essential features of decorative painting.
Auburtin did not show this year any large
decorative compositions, but his two important
panels, Sons de Flute and Chants sur lEau,
showed him to be before all else a decorator who
follows the fine traditions of Puvis de Chavannes,
and revealed the artist’s fine imaginative qualities,
combined with an extreme beauty of composition.
M. Roll, the president of the society, from whom
we had last year a very fine decorative work
destined for the town of Buenos Ayres, did not
this year sign any work of such imposing dimensions.
Nevertheless in his self-portrait we had one of the
best portraits of men that we have seen for some time.
In another picture, representing a fight between two
stallions, M. Roll gave evidence of his finest qualities
of energy and spirit. It is generally conceded that
M. Gaston La Touche surpassed himself this year.
One has seen nothing more seductive, more rich
in colour or better composed than this picture, in
which charming young girls are pelting with roses a
statue of Love.
The landscapes by Raffaelli were of premier
order. When the artist was asked how he con-
trived to avoid ever giving the slightest evidence of
flagging power he made in the writer’s presence
this delightful response : “ It is because I start each
new canvas, no matter what it be, with the same
fever, the same emotion, and the same anxiety as I
did when I was twenty years of age.” These words
give us a clue to the comprehension of the works he
exhibited this year, and chiefly Les Petites Maisons
au Bord de lEau and La Place St. Jean a Nemours,
“jeunesse joyeuse”
106
(Artistes Francais)
BY MAX BOHM