DOI issue:
No. 39 (June, 1896)
DOI article:Mourey, Gabriel: The Salon of the Champ de Mars
DOI Page / Citation link:https://doi.org/10.11588/diglit.17297#0038
The Salon of the Champ de Mars
EFFET DE SOLEIL BY L. W. HAWKINS
plicity not devoid of refinement, and revealing, as proof of this. Here we see that sort of aristocratic
his work always does, profound thought. Thus atmosphere in which this artist loves to place his
in line Porte he shows the sadness of the deserted subjects; and we are conscious too of a truly
hearth, the joyous carelessness of the growth of masterly treatment of the still-life, the dresses, the
weeds midst stone and wood-work. What does it materials, and the various ornaments usually seen
typify, this doorway ? Is it the gate of Life, or in portraits of this kind, combined with infallible
the gate of Death ? Who were they who crossed certainty of touch, and a profound knowledge of
its threshold for the last time long ago ; who closed the resources and requirements of his art. Such
it behind them for ever, sealing there the secret of are M. de la Gandara's gifts, rare gifts too, it must
their joys, their loves, perhaps their tears ? How be admitted, in these days when the loud ',' official"
excellent, too, this Effet de Soleil, a white-robed portrait-painter flourishes, and placing him in the
woman strolling carelessly under the leafy chest- first rank of the artists of his school,
nuts. How it all appeals to the imagination, this M. A. Baertsoen may best be described as a
picture, apparently intended merely as an impres- landscapist of sentiment. He sees the sorrowful
sion of Nature ! Charming it is in execution, side of things, their illusions, their mournful poetry,
supple and delicate and vigorous at the same time : His is a nature of many shades. Everything to
the work of a real painter, this, a brave wielder of him appears in the half tints to which he is devoted,
the brush. and whose innermost secrets he has succeeded in
M. A. de la Gandara, long under the influence discovering and placing before our eyes. We see
of Whistler—the best of masters to be sure, but once more in the Champ de Mars his Au Beguinage
somewhat over-imitated in France—has succeeded {Matin de JVeige), which evoked so much admira-
this year in revealing his own true personality as a tion quite recently at Georges Petit's International
portraitist. His Mme. G. B- gives convincing Exhibition. I retain my first impression about his
EFFET DE SOLEIL BY L. W. HAWKINS
plicity not devoid of refinement, and revealing, as proof of this. Here we see that sort of aristocratic
his work always does, profound thought. Thus atmosphere in which this artist loves to place his
in line Porte he shows the sadness of the deserted subjects; and we are conscious too of a truly
hearth, the joyous carelessness of the growth of masterly treatment of the still-life, the dresses, the
weeds midst stone and wood-work. What does it materials, and the various ornaments usually seen
typify, this doorway ? Is it the gate of Life, or in portraits of this kind, combined with infallible
the gate of Death ? Who were they who crossed certainty of touch, and a profound knowledge of
its threshold for the last time long ago ; who closed the resources and requirements of his art. Such
it behind them for ever, sealing there the secret of are M. de la Gandara's gifts, rare gifts too, it must
their joys, their loves, perhaps their tears ? How be admitted, in these days when the loud ',' official"
excellent, too, this Effet de Soleil, a white-robed portrait-painter flourishes, and placing him in the
woman strolling carelessly under the leafy chest- first rank of the artists of his school,
nuts. How it all appeals to the imagination, this M. A. Baertsoen may best be described as a
picture, apparently intended merely as an impres- landscapist of sentiment. He sees the sorrowful
sion of Nature ! Charming it is in execution, side of things, their illusions, their mournful poetry,
supple and delicate and vigorous at the same time : His is a nature of many shades. Everything to
the work of a real painter, this, a brave wielder of him appears in the half tints to which he is devoted,
the brush. and whose innermost secrets he has succeeded in
M. A. de la Gandara, long under the influence discovering and placing before our eyes. We see
of Whistler—the best of masters to be sure, but once more in the Champ de Mars his Au Beguinage
somewhat over-imitated in France—has succeeded {Matin de JVeige), which evoked so much admira-
this year in revealing his own true personality as a tion quite recently at Georges Petit's International
portraitist. His Mme. G. B- gives convincing Exhibition. I retain my first impression about his