Studio: international art (26.1902)

The Paris Salons

Mile. Claudel; a fragment of a tomb of noble
design by Albert Bartolome ; the three panels for
the ornamentation of a bath-room, by Alexandre
Charpentier; the sorrowful Tete de Femme, by
Camille Lefevre—who has just been entrusted with
the completion of the monument on which Dalou
was engaged at the time of his death—the bust of
the great Belgian writer, Camille Lemonnier, and
&Tete d'homme dupeuple, admirably "characterised,"
by Constantin Meunier; and, finally, the three
Ombres, by Rodin.

In the department of engraving there is much
that is excellent—coloured wood-blocks by Jacques
Beltrand; etchings by Chahine, Bejot, and the
lamented Gaston Ey'Chenne, who died so young
a few weeks back in the heyday of his delicate
talent; coloured etchings by Eugene Delatre,
Richard Ranft, Francis Jourdain, and Jacques
Villon ; gypsographs by Pierre Roche ; lithographs
by Lunois and Henri Riviere, whose new series,
La Feerie des Heures, has all the fine qualities of
his Aspects de la Nature, and who is just finishing
an album of the Trente-six vues de la Tour Eiffel,
shortly to be published by Eugene Verneau;
several plates engraved by Jeanniot to illustrate
Benjamin Constant's Jldolphe; some really interest-

ing wood-blocks cut with the penknife by Emile
Laboureur; wood-blocks by a newcomer, Paul
Colin, who has just revealed himself at Sagot's as
an artist of high originality and rich technique
(Le Marechal ferrant, Peniche sur la Marne, and
La Ferme are plates of the first order); and,
lastly, the most recent coloured wood-blocks by
the great Lepere—La Vague, Le Braconnier,
Bucolique Moder?ie, and the astonishing Procession
de la Fete-Dieu a Nantes.

The section of Decorative art is not distinguished
by anything very new or striking.

We see once more, and certainly not without
pleasure, Felix Aubert's polychrome lace-work,
Bigot's stone-ware, also enamels by Lucien Hirtz
and Dammouse, and leather-work by Belville; but
the novel and the rare are almost entirely lacking
The jewellery, however, demands a special word of
mention — notably that of Charles Boutet de
Monvel, a deserter from the Salon des Artistes
Frangais; that of P. E. Mangeant, always full of
personal savour; and that of Charles Rivaud,
simply conceived and stamped by genuine charac-
ter and individuality. Note, too, the bindings by
Clement-Mere, who reaches the extremest limits of
his art, and possesses precious secrets of colouring;

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