Studio: international art (24.1902)

Le Sidaner

sary to place the floor two steps below that of the manner of each artist agrees with his habitation;
entrance passage, and to raise the ceiling by about but that is a wide field. And, finally, the artist must
as much above the adjoining dining-room. ..." have been longing for a certain kind of house,
I have little to add to the observations by Pro- otherwise he would not have built it so. But
fessor Behrens. I look upon all theory about art this striving after an ideal is the very source of art.
as idle if it becomes narrow-minded and doctrinaire, /y*, ^g continued*}

and permits only of one kind of art or art handi-
craft. I do not think the houses of modern men

need be solemn and hieratic. But I do not intend rpHE WORK OF M. LE SIDANER.
to assert that lofty, imposing rooms, full of splen- I BY GABRIEL MOUREY.
dour, giving rise to serious thoughts, are not 1

justified in an age when many wish to escape *■ I know few artistic personalities so
from the noise, the restlessness, and the naturally delicate, of so fresh and subtle a refine-
haste of every-day life. This forms the centre ment as that of M. Le Sidaner. Others may be
of attraction of the Darmstadt exhibition. Each loud and vehement and gesticulatory; he is tender,
artist has built a house for himself. Individualism restrained, melancholy, peaceful and profound,
is here the only possible principle. The only Speaking but little, and even then in soft tones, he
feasible point of discussion is how far the is no phrase-monger, no mouther of vain words,

but always moderate and
calm, saying what he has
to say and what he thinks
and feels clearly and
soberly, in tones so choice
as to be exquisitely seduc-
tive. He is the lover of the
" calme clair de lune triste
et beau " of Verlaine—

" Qui fait rever les oiseaux dans
les arbres,
Et sangloter d'extase les jets
d'eau—

' Les grands jets d'eau sveltes

....." ' " " " One feels that he at-

beguinage" by le sidaner taches, and has long since

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