Studio: international art — 32.1904

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Dusseldorf Exhibition

very well known indeed to
the Anglo - Saxon public,
his own compatriots, with
the exception of a small
circle of ardent admirers
of his talent, had prac-
tically never heard his
name. As was only natural,
it was his ambition to
attain such measure of
celebrity as he could at
home as well as abroad,
and of late years much
more of his work has re-
mained in France than
formerly. His magnum opus
on "movement," the
plates for which were all en-
graved by himself, is already
a classic, the principal
European museums hav-
ing purchased a consider- nA great britisii statesman '' from a sketch by paui. renouard
able proportion of the

very limited edition issued. • :

Latterly, he has, in a measure, given up the pencil the back, dominating the entire group, is the
for the brush, and the exhibition of his works in colossal statue of Napoleon. By reason of the
oil in this year's Salon came as a revelation to extreme value placed on the relics, the chapel,
many who had little suspected such versatility in situated in the basement of the tomb, is never
the artist. He showed every description—land- shown to ordinary sightseers. Foreign sovereigns
scape, portrait, and genre—and in each instance who may be visiting Paris are practically the only
contrived to impart that personal note that is so strangers for whom the door of. the chapel is ever
characteristic of his drawings. The luminosity of opened. While engaged in painting this picture
some of his landscapes is as wonderful as the Renouard was locked inside the little chapel for
vigorous impressionist rendering of others ; but many hours at a time, the only living occupant ot
the most popular pictures will doubtless be the the vast edifice. It was winter, and in order to
genre. Several of these represent scenes in the keep even moderately warm he had to work muffled
Elysee, and one, notably, entitled Changement de up in blankets from head to foot. There was no
Decor, shows an army of red-plushed waiters trans- means of escape until the officer in charge of the
forming at break-neck speed a dinner-room into a Invalides returned in the evening with the keys
ball-room, under the superintendence of a lordly- and released his voluntary prisoner,—a notable
looking master of the ceremonies giving his orders instance, surely, of artisfic enthusiasm and courage,
with the dignity and calm self-possession of a

Napoleon. This, it will be seen at once, is purely r I ^HE FINE ARTS AND HORTI-


obtain equal or even greater attention, repre-
sents the visit of the Emperor and Empress of w- 3il>HxE-ii.

Russia to the private chapel at the Invalides, Encouraged by the uncommon success with
wherein are deposited under triple lock and bar which their great Industrial Exhibition was crowned
the most precious relics of " The Emperor "— two years ago, the authorities at Diisseldbrf decided
the hat and sword he carried at the battle of to enter upon a similar venture this summer.
Austerlitz. The Tsar and Tsarina stand in the There was a fine art department connected with
foreground examining the relics, behind them is the exhibition in 1902 ; this time it is the principal
the French President, the late Felix Faure, and at feature. There are many other departments
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