DOI issue:
No. 131 (February, 1904)
DOI article:Studio-talk
DOI Page / Citation link:https://doi.org/10.11588/diglit.19881#0093
Studio- Talk
in the exhibition lies in Sargent's big canvas, Por-
traits of Children, a work of most brilliant composi-
tion, and technically a tour de force. The large
portrait of a man by Felix Borchardt is not sympa-
thique, but it reveals an interesting striving in the
direction of free open-air painting. M. Allegre
shows progress ; his Venetian scenes are frank and
solid. M. Franz Charlet and M. Bartlett once
more display their curious visions of Holland.
M. Casas is scarcely himself in his melancholy
portrait of a man. Finally there are the contribu-
tions sent by Mile. Delasalle, who also appears to
be restraining herself unduly.
How much more real and live seems the display
of a few artists who have been exhibiting in the
Petit Galleries, their pictures being painted with
the Raffaelli colours! I have no hesitation in
saying that on this occasion the experiment is
much more convincing than was the case last year.
The artists have gained a greater mastery over the
process, and they now reyeal it in all its variety.
In the case of Auburtin, for example, the new
colours resemble fresco-painting; while with Thau-
low, Boulard, and Houbron, they often give the
impression of a very brilliant water-colour. As for
the work of Cheret, Prouve, and Steinlen, one would
think it was done in pastel. Consequently M. Raf-
faelli is more than ever confident in his process.
Various aspects of Honfleur and Trouville painted
by him this summer will, when shown, convince
even the most obstinate of the excellence, the
fluidity, and the softness of his oil " sticks."
After the exhibition of the works of Gustave
Loiseau, whose bright palette has kinship with that
of Sisley, MM. Durand-Ruel displayed a remark-
able collection of water-colours by M. Rene Binet.
Here is an architect who brings back from his
travels no mere ground-plans and wash-drawings of
the ordinary type, but a series of warm and luminous
little works, wherein he revives the famous aspects
of Naples and Pompeii and Sicily, and of all those
classic landscapes too often neglected nowadays.
M. Binet proves to us that it would be impossible
to interpret them in a new manner; and, as
77
in the exhibition lies in Sargent's big canvas, Por-
traits of Children, a work of most brilliant composi-
tion, and technically a tour de force. The large
portrait of a man by Felix Borchardt is not sympa-
thique, but it reveals an interesting striving in the
direction of free open-air painting. M. Allegre
shows progress ; his Venetian scenes are frank and
solid. M. Franz Charlet and M. Bartlett once
more display their curious visions of Holland.
M. Casas is scarcely himself in his melancholy
portrait of a man. Finally there are the contribu-
tions sent by Mile. Delasalle, who also appears to
be restraining herself unduly.
How much more real and live seems the display
of a few artists who have been exhibiting in the
Petit Galleries, their pictures being painted with
the Raffaelli colours! I have no hesitation in
saying that on this occasion the experiment is
much more convincing than was the case last year.
The artists have gained a greater mastery over the
process, and they now reyeal it in all its variety.
In the case of Auburtin, for example, the new
colours resemble fresco-painting; while with Thau-
low, Boulard, and Houbron, they often give the
impression of a very brilliant water-colour. As for
the work of Cheret, Prouve, and Steinlen, one would
think it was done in pastel. Consequently M. Raf-
faelli is more than ever confident in his process.
Various aspects of Honfleur and Trouville painted
by him this summer will, when shown, convince
even the most obstinate of the excellence, the
fluidity, and the softness of his oil " sticks."
After the exhibition of the works of Gustave
Loiseau, whose bright palette has kinship with that
of Sisley, MM. Durand-Ruel displayed a remark-
able collection of water-colours by M. Rene Binet.
Here is an architect who brings back from his
travels no mere ground-plans and wash-drawings of
the ordinary type, but a series of warm and luminous
little works, wherein he revives the famous aspects
of Naples and Pompeii and Sicily, and of all those
classic landscapes too often neglected nowadays.
M. Binet proves to us that it would be impossible
to interpret them in a new manner; and, as
77