Studio: international art (28.1903)

Studio- Talk

examples of applied art. M. Albert Dammouse's
skill as a potter is inherited ; his use of remarkably
rich enamelled colours gives his pieces a singularly
fine effect. Quite original, too, is M. Jacquin in
his jewellery, sometimes a little too massive ; and
M. Robert's numerous exhibits of iron work—a
balustrade, a gate, a sign-bracket, a lamp-stand—
reveal him as a craftsman of the highest order.
M. Grandhomme sends some pretty enamels,
M. Verneuil some furniture and hangings, M. Victor
Prouve some designs and leather work.

M. Hugues de Beaumont and M. Raoul du
Gardier, who are exhibiting in Silberberg's gallery,
are both pupils of G. Moreau, to whose admirable
training we owe such painters as Milcendeau,
Besson, Rouault, Desvallieres and many more, whom
the master enabled to perfect themselves in their
art while developing their individual temperament.
That of M. de Beaumont leads him to broad, strong
treatment and great richness of colour. Both
these painters indeed have a feeling for colour, but

de Beaumont paints interiors, while M. du Gardier
prefers the open air. By the former, there is a
study of a room at Versailles which is excellent,
besides some good female portraits. M. du Gardier,
in a portrait of a girl, shows some affinity with
Lavery and the Glasgow school.

M. de Feure, after devoting himself for some years
to decorative work, has now come back to water-
colour ; those he is exhibiting at Bing's are full of
the imaginative qualities which won him his early
successes. We still can enjoy the strange fantastic
charm of these works, where in weird landscapes
he sets figures of women, nearly related, it would
seem, to the creations of Edgar Poe, Baudelaire and
Aubrey Beardsley; and we are very ready to let
him lead us to the fairy gardens of Armida and
among scenery resembling that of which Thomas
de Quincey had visions in his dreams—mysterious
woods where we expect to find one of Shakespeare's
more melancholy heroines.