Studio: international art (11.1897)

Decorative Art at

while M. Koepping in all his productions reveals
himself an incomparable master of logical simplicity
and sane taste. With him we have enthusiasm,
inspiration, feeling; with M. Tiffany the chief
characteristics are deep knowledge and refinement.
Both artists may be admired unreservedly, but it is
M. Koepping's work that one must needs love.

By comparison, M. Emile Galle's works in glass
are barbarous objects, clumsy and pretentious in
conception and in realisation alike. It is all in
vain that he has become inspired by M. de Montes-
quiou's infantile verses—for these latter can add no
value to articles worthless in themselves.

One cannot but regret that M. Vallgren's display
is rather limited this year. He was wont to be
more lavish. His benitier in stonework is a most
successful achievement, bringing out all the artist's
well-known qualities; but one would rather see
him in one of those little figures into which he
contrives to infuse so much charm and pensive
melancholy.

It cannot be said that leather-work shows much
advance at the Champ de Mars. The imagination
of the artists who have devoted themselves to this
branch of work seems a little slack. The work-
manship is far from being without merit, but there
seems to be a paucity of ideas. However, the
bindings by M. Rene Wiener, of Nancy, Mme.
Waldeck-Rousseau, M. Marius Michel, M. Belville,
and Mme. Vallgren, deserve mention, although

RUST IN WOOD AND IVORY BY J. DAMI'T

44

the Champ de Mars

HEAD OF A GIRL IN STONEWARE BY FIX MASSEAU

there is nothing really remarkable in any of the
productions shown in this department.

Much the same report must be made as to the
section of tapestries and embroideries. M. de
Feure's tablecloth is simply eccentric, while M.
Flandrin's tapestry panel and M. Couty's designs
for hangings offer no great points of interest. A
word is due, on the other hand, to M. Ranson's
tapestries, which demand serious attention, for
they indicate a genuinely successful attempt to
realise the possibilities of this art. But the fullest
meed of praise must be bestowed on Mr. Frank
Brangwyn for his tapestry cartoon, Le Roi au
Chantier. It is superbly rich and harmonious in
colouring, and shows a remarkable sense of group-
ing, combined with a fanciful gift for ornamentation,
which is of the rarest originality. He may be
heartily congratulated on this fine piece of work,
which reveals his powers in all their fulness.

Ceramic work, although presenting nothing very
novel, nevertheless occupies a worthy place in the
Salon. M. A. Delaherche merits first mention.
He is still in the forefront among the workers in
this art, and the productions he displays at the
Champ de Mars are, for the most part, of a very
high order.

There is no trickery, no jugglery about him.
His fired stoneware is really fired stoneware, and