DOI Heft:
No. 123 (June, 1903)
DOI Artikel:Frantz, Henri: The exhibition of the National Society of Fine Arts
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.19879#0071
The Spring Exhibitions
for having received with open arms the young
painters which the Juries of the old Salon were
determined to ignore, is such as to prevent our
being captious now that the Association is trying
to be cautious.
To enumerate all the inferior works would take
us too far, nor is that the object of this article, in
which I propose to note the really characteristic
works in the exhibition and the personal efforts
which may be distinguished in the mass. Some of
these superior works are to be found, as if intention-
ally brought together, in the first room, and of these
I will speak first. Side by side with Carolus Duran
and Guignard, of whom I can say nothing new, are
three men of the highest class: Zuloaga, Cottet,
and Jacques Blanche. The first of these is of the
race and breed of Velasquez and Goya, from whom
he borrowed rather directly in his earlier works,
though he has since studied more closely from
nature. Zuloaga here sets before us in three pic-
tures, scenes from the life of the damsels of Seville,
seized with wonderful keenness of vision and sense
of life. In one of these pictures we see peasants,
too nearly related perhaps to the Borrachos of Velas-
quez, meeting a girl whom they jest with; in an-
other a Gitana of dark complexion is leading a
young Sevillana to a rendezvous; and the third,
and finest, represents two Andalusian women dress-
ing to go to a bull-fight. Zuloaga has rendered the
the pale or faded hues of the silks, the dark light-
ning of black eyes in faces plastered with powder,
with an astonishing feeling for light and shade, a
penetrating apprehension of character, and wonder-
ful skill as a colourist; and at the same time he
fixes on his canvas the nervous grace of the
Southern Spanish woman, carrying on the series
of studies which make Goya famous.
Charles Cottet, like Zuloaga, loves and studies
character. His power is manly and severe ; but
while the Spanish painter seeks a bright, light key,
the painter of Brittany has a dull-hued palette,
though infinitely varied in its tones. He is par-
"UNE CRIQUE : BRETAGNE" BY CHARLES COTTET
54
for having received with open arms the young
painters which the Juries of the old Salon were
determined to ignore, is such as to prevent our
being captious now that the Association is trying
to be cautious.
To enumerate all the inferior works would take
us too far, nor is that the object of this article, in
which I propose to note the really characteristic
works in the exhibition and the personal efforts
which may be distinguished in the mass. Some of
these superior works are to be found, as if intention-
ally brought together, in the first room, and of these
I will speak first. Side by side with Carolus Duran
and Guignard, of whom I can say nothing new, are
three men of the highest class: Zuloaga, Cottet,
and Jacques Blanche. The first of these is of the
race and breed of Velasquez and Goya, from whom
he borrowed rather directly in his earlier works,
though he has since studied more closely from
nature. Zuloaga here sets before us in three pic-
tures, scenes from the life of the damsels of Seville,
seized with wonderful keenness of vision and sense
of life. In one of these pictures we see peasants,
too nearly related perhaps to the Borrachos of Velas-
quez, meeting a girl whom they jest with; in an-
other a Gitana of dark complexion is leading a
young Sevillana to a rendezvous; and the third,
and finest, represents two Andalusian women dress-
ing to go to a bull-fight. Zuloaga has rendered the
the pale or faded hues of the silks, the dark light-
ning of black eyes in faces plastered with powder,
with an astonishing feeling for light and shade, a
penetrating apprehension of character, and wonder-
ful skill as a colourist; and at the same time he
fixes on his canvas the nervous grace of the
Southern Spanish woman, carrying on the series
of studies which make Goya famous.
Charles Cottet, like Zuloaga, loves and studies
character. His power is manly and severe ; but
while the Spanish painter seeks a bright, light key,
the painter of Brittany has a dull-hued palette,
though infinitely varied in its tones. He is par-
"UNE CRIQUE : BRETAGNE" BY CHARLES COTTET
54