Studio: international art (27.1903)

Sttidio- Talk

PARIS.-The painter J. F. Raf-
faelli made some months ago
a discovery which has been
much discussed in the world
of art. By a new process he has suc-
ceeded in making solid oil colours, which
can be used in the form of a pencil, and
produce effects as rich and firm as brush-
work. I need not enlarge on the many
advantages offered by this new mode of
painting, or the practical results to be
obtained; indeed, the exhibition got up
by M. Raffaelli sufficiently proves the
value of his discovery.

In the Durand-Ruel galleries we find
collected about 70 works, all executed
by well-known artists with the Raffaelli
oil-pencil. It brings no new painter to
the front, and it is noteworthy that in
every style, and in every hand, the new
practice gives equally satisfactory results,
as far as the texture is concerned.

M. Raffaelli, as is but fair, is most
largely represented. This painter, who
records so delightfully the rather melan-
choly poetry of the environs of Paris,

shows us some suburban road with a "butterfly"' by edwin Alexander, a.r.s.a.

perspective of tall poplars, or some river <See Edinburgh Studio-Talk)

bank bright with sunshine, or chill with

snow. His House by the
Water, and Village by the
Water are charming works;
but his crowning achieve-
ment here is the Demonstra-
tion in Front of Victor
Hugo's House on his
Eightieth Birthday, painted
by M. Raffaelli from
sketches made for the
Victor Hugo Museum.
M. Besnard has also tried
these oil - colour pencils.
His Portrait of a Young
Man strikes us as over
strong in the effects, but
the painter's full mastery is
seen in La Source, where,
against a background of
verdure, we have a graceful

; pigeons " by edwin alexander, a.r.s.A. female fiSUre StOOping tO

(See Edinburgh Studio-Talk) draw water; the light falls