Studio: international art (23.1901)

paintings, and among the artists' names were those
of Max Klinger, Paul Troubetzkoy, Bocklin, Emile
Claus, Feuerbach, Leibl, Liebermann, Segantini,
William Strang, Anders Zorn, and Heinrich Ziigel.
Herr Konigs' heirs deserve the warmest thanks for
having presented a selection of the masters' best
works to the National Gallery of Berlin. This price-
less gift to the nation includes Max Klinger's Amfihi-
trite, chiselled in beautiful Parian marble, Rodin's
L Homme et sa fiensee, a bronze group by Van der
Stappen, three smaller works by the Russian artist
Troubetzkoy, and the beautiful bust of his par-
ticular friend, the lamented Segantini. The Ritorno
del Paese, by Segantini, a painting imbued by
earnest solemnity, is also given to the National
Gallery; likewise a portrait by Bocklin, an interest-
ing landscape by Feuerbach, an excellent Leibl,
and an artistic female study by Anders Zorn.

The late genre painter, Paul Klette, little known
in Berlin, was also there—somewhat as a surprise.
Konigs had five of his works. Two little im-
pressionist landscapes by a comparatively unknown
artist, Victor Thomas of Berlin, also attracted
attention. L. K.

PARIS.—An exhibition of the work of
Honore Daumier, organised by the
" Syndicat de la Presse Artistique," has
just been opened at the Ecole des
Beaux-Arts. One can have nothing but praise for

such an enterprise, and special congratulations are
due to M. Frantz Jourdain, who has been at great
pains to display the most important and most
significant of the master's works to the best
advantage. Thus the exhibition fully merits the
success it is having, " As painter, draughtsman,
lithographer, and sculptor Daumier is seen here
in all his versatility," as M. Gustave Geoffroy aptly
remarks in his preface to the catalogue, adding,
" and in everything he will be found equal to him-
self." The full genius of this great artist is, indeed,
strikingly demonstrated by this display, which plainly
shows him to be a bigger man than many people ever
imagined. A special word of acknowledgment is
due to those collectors who have lent their treasures
on this occasion — to MM. Arsene Alexandre,
Gallimard, Bureau, Cordey, Donop de Mouchy,
Feydeau, Ollendorff, Natanson, Cheramy, Viau,
Rouart, and Tavernier, thanks to whom it may
be said that the majority of Daumier's most sug-
gestive works are now displayed on the Quai
Malaquais.

There has been no space available hitherto to
describe the chief exhibitions which marked the
close of the art season before the opening of
the two Salons. I must content myself with the
briefest mention thereof, just by way of record.
At the Bernheim Gallery we had a display by
a most talented young landscapist, M. Rene
Seyssaud, a bold and powerful impressionist;

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