DOI Heft:
No. 86 (May, 1900)
DOI Artikel:Boucher, Henry: A French caricaturist: Louis Morin
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.19784#0263
Louis Morin
drawings—light, graceful, piquant—in a word,
Venetian : drawings such as one would have ex-
pected from none but a real child of the city of the
Doges.
This volume, containing 178 drawings (the
number had originally been fixed at 125) is certainly
the most complete revelation Morin has given us
of his gifts, both literary and pictorial. Never has
he attained a higher degree of fancy and grace,
verve and wit. Whatever he may do in the future,
with added knowledge, he will never again display
in so spontaneous a profusion the great gifts
called forth in this delightful book by the seduc-
tions of his Venetian environment.
In order that there might be no misconception
as to his intentions, Morin classed the three works
to which I have alluded under the general title of
" Histoires d'autrefois," thus reserving for a future
date the ideas he had formed on our life of to-day.
While fascinating their elders, Morin has not
neglected the children. He loves them, and
delights to invent fairy-tales to excite their little
brains. "La legende de Robert-le-Diable" (1886), a
quarto album, containing 53 drawings, was com-
posed for their benefit, while " Le Cabaret du Puits-
sans-vin" was also in a way intended for young
people. Subsequently he illustrated "Les Aven-
tures de Pikepikecornegramme " and " Dansons la
Capucine," by Arsene Alexandre.
With all this fine achievement to his credit
Morin is far from being neglected by the more
enlightened of our publishers, who eagerly demand
his invaluable aid. It is all to the honour of
M. Decaux that he should have contrived to keep
the writer-artist almost continuously employed.
For example, Morin is regularly entrusted by him
with numerous drawings for his sumptuous
magazine, the " Revue des Lettres et des Arts,"
to the pages of which one must turn to form an
idea of Morin's versatility and knowledge.
Jules Cheret, Willette, Riviere, and Caran
d'Ache, among other artists of the highest rank,
were quick to appreciate Morin's gifts, and Felix
Buhot has long been one of his strongest sup-
porters. Cheret and Morin fraternised speedily,
and a deep frierrdship soon sprang up between
drawings—light, graceful, piquant—in a word,
Venetian : drawings such as one would have ex-
pected from none but a real child of the city of the
Doges.
This volume, containing 178 drawings (the
number had originally been fixed at 125) is certainly
the most complete revelation Morin has given us
of his gifts, both literary and pictorial. Never has
he attained a higher degree of fancy and grace,
verve and wit. Whatever he may do in the future,
with added knowledge, he will never again display
in so spontaneous a profusion the great gifts
called forth in this delightful book by the seduc-
tions of his Venetian environment.
In order that there might be no misconception
as to his intentions, Morin classed the three works
to which I have alluded under the general title of
" Histoires d'autrefois," thus reserving for a future
date the ideas he had formed on our life of to-day.
While fascinating their elders, Morin has not
neglected the children. He loves them, and
delights to invent fairy-tales to excite their little
brains. "La legende de Robert-le-Diable" (1886), a
quarto album, containing 53 drawings, was com-
posed for their benefit, while " Le Cabaret du Puits-
sans-vin" was also in a way intended for young
people. Subsequently he illustrated "Les Aven-
tures de Pikepikecornegramme " and " Dansons la
Capucine," by Arsene Alexandre.
With all this fine achievement to his credit
Morin is far from being neglected by the more
enlightened of our publishers, who eagerly demand
his invaluable aid. It is all to the honour of
M. Decaux that he should have contrived to keep
the writer-artist almost continuously employed.
For example, Morin is regularly entrusted by him
with numerous drawings for his sumptuous
magazine, the " Revue des Lettres et des Arts,"
to the pages of which one must turn to form an
idea of Morin's versatility and knowledge.
Jules Cheret, Willette, Riviere, and Caran
d'Ache, among other artists of the highest rank,
were quick to appreciate Morin's gifts, and Felix
Buhot has long been one of his strongest sup-
porters. Cheret and Morin fraternised speedily,
and a deep frierrdship soon sprang up between