Studio: international art (28.1903)

Studio-Talk

faultless in finish; M. Lucien Monod exhibits some merit who successfully tried his hand in genre and
drawings and studies of women in three colours of in portrait painting. Among these are some quite
crayon. M. Bracquemond has made successful first-rate pictures, in which Desboutin shows his
experiments in painting with wax by the antique power as a physiognomist of great acumen, ren-
process ; M. Milcendeau has stamped his per- dering the psychology of his model with eloquence
sonality on his landscapes from La Vendee, and insight. H. F.

Finally, we must not overlook the landscapes by

M. Detroy, M. Chevalier, and M. Waidmann, "I 7IENNA.—The "Secession" Winter
nor the enamels by M. Feuillatre. % / Exhibition is quite up to expectation,

- \f both for its artistic arrangement—the

In these galleries (of Georges Petit) we have ™ work of Leopold Bauer and Professor
also had the twentieth exhibition of the " Societe Kolo Moser—and the novelties it contains ; while
Internationale." Since the secession of members an additional interest is given by the Society of Polish
so important as Cottet, Simon, Thaulow and Artists, "Sztuka," and the characteristic decoration
Menard, the interest of these shows had somewhat of the room where they are shown, by Karol Tichy.
fallen off, the Society having recruited its numbers The impression made on entering the exhibition is
with artists of no original power. However, this a very pleasant one, for instead of the usual oblong
year the average level is a little higher, and there or square room we have been accustomed to see
are some good things here. In the very first class, we find ourselves in a large circular one, hung
certainly, must be ranked the work of Mr. Lorimer, with deep red damask especially designed by Prof,
who unites great gifts as a colourist with
a refined feeling for composition. M.
Paul Chabas has, indeed, often done
better than in his portraits here, and
M. Lauth leaves us to regret some
former efforts. M. Charlet exhibits a
scene of sailor life, The Widoiver, full
of feeling, and interesting for the skill
with which he uses a low key of colour.
M. Frieske, who is under the influence
of Whistler, gives vitality to his female
figures and atmosphere to his interiors ;
Mr. Humphreys sends pictures which are
scarcely carried far enough. Among the
landscapes may be noted the pleasing
night effects of M. Chudant; the works
of Mr. Morrice, whose talent is expanding
rapidly; and M. R. Allegre's brilliant
views of Provence and of Venice.

At the Ecole des Beaux Arts an
exhibition of the works of the lamented
Marcelin Desboutin, who died last year,
has been arranged by his sons. We see
here his mastery as an engraver in a
large collection of etchings and dry
points; many of these are not merely
capital works of art, but invaluable
records of some of our contemporaries—
Manet, Lord Leighton, Zola, Maupassant,
Verlaine, G. F. Watts, and many more.
Desboutin was best known as an en-
graver, but this posthumous exhibition
reveals him as a painter too of great portrait bust by spicer simson

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