DOI issue:
Nr. 143 (February 1905)
DOI article:Studio-talk
DOI Page / Citation link:https://doi.org/10.11588/diglit.20711#0089
LE JARDIN DU I'HARE BY E. CHIGOT
space is limited ; moreover, we shall come across
them again elsewhere. Suffice it to say that the
great name of Eugene Carriere was brilliantly con-
spicuous here, and that one greeted with pleasure
artists of the stamp of Truchet, La very, Desvallieres,
Da gnac-Riviere, Dougherty, Gouyn de Lurieux,
Du Gardier, Kunfy, Prouve and Ch£ret.
In one of the galleries were several canvases of
high meric. The luminous palette of Mile. Dufau
was displayed in a charming Liseuse, and in one of
those Spanish landscapes in which she delights.
Then we had Wery, growing more and more
confident; Adler, with his robust view of artisan
life (assuredly a coming master); Besson, with two
works already well known to readers of The Studio,
and Dupuy, a broad colourist, who is well known
as a painter of Parisian life.
Eugene Chigot—of whom we shall have more to
say very shortly—was also represented by several
canvases of powerful effect. I liked his Depart des
Islandais, with its boats melting away in the haze,
and its picturesque and moving group of fishermen;
also I liked his northern sea-pieces, imbued with the
true note of nature and of humanity, and treated so
broadly and so simply.
Impressionism takes an important place in this
advance-guard Salon. Vuillard, whose delight-
ful interiors have been much appreciated,
Zandomeneghi, Vallotton, K. X. Roussel, Moret,
Loiseau, Laprade, and Dezaunay were all repre-
sented by work which afforded an interesting insight
into the evolution of the Impressionist school.
Belleroche is well known as a lithographer of
high talent, but here he revealed himself in the light
of an accomplished painter of womankind, wherein
the graceful traditions of the women of the
eighteenth century are united with a very novel and
attractive mode of treatment. M. Ranft, too, sent
several live and luminous things which entitle him
to his place among our really good artists. There
is about his work a solidity of facture and a
material beauty which warrant one in wishing for
him all the success he deserves. M. Prunier was
represented by two pictures only; M. Jacques
Moleux had three canvases of varied styles : his
southern scenes are the work of a real colourist.
M. Francis Jourdain is also among the elite of this
Salon, and his fine gifts as painter and decorator
merit far more than this brief mention, as do
M. Lopisgich, M. Piot, with his admirable water-
colours, M. Rouault—whose vision of things
73
space is limited ; moreover, we shall come across
them again elsewhere. Suffice it to say that the
great name of Eugene Carriere was brilliantly con-
spicuous here, and that one greeted with pleasure
artists of the stamp of Truchet, La very, Desvallieres,
Da gnac-Riviere, Dougherty, Gouyn de Lurieux,
Du Gardier, Kunfy, Prouve and Ch£ret.
In one of the galleries were several canvases of
high meric. The luminous palette of Mile. Dufau
was displayed in a charming Liseuse, and in one of
those Spanish landscapes in which she delights.
Then we had Wery, growing more and more
confident; Adler, with his robust view of artisan
life (assuredly a coming master); Besson, with two
works already well known to readers of The Studio,
and Dupuy, a broad colourist, who is well known
as a painter of Parisian life.
Eugene Chigot—of whom we shall have more to
say very shortly—was also represented by several
canvases of powerful effect. I liked his Depart des
Islandais, with its boats melting away in the haze,
and its picturesque and moving group of fishermen;
also I liked his northern sea-pieces, imbued with the
true note of nature and of humanity, and treated so
broadly and so simply.
Impressionism takes an important place in this
advance-guard Salon. Vuillard, whose delight-
ful interiors have been much appreciated,
Zandomeneghi, Vallotton, K. X. Roussel, Moret,
Loiseau, Laprade, and Dezaunay were all repre-
sented by work which afforded an interesting insight
into the evolution of the Impressionist school.
Belleroche is well known as a lithographer of
high talent, but here he revealed himself in the light
of an accomplished painter of womankind, wherein
the graceful traditions of the women of the
eighteenth century are united with a very novel and
attractive mode of treatment. M. Ranft, too, sent
several live and luminous things which entitle him
to his place among our really good artists. There
is about his work a solidity of facture and a
material beauty which warrant one in wishing for
him all the success he deserves. M. Prunier was
represented by two pictures only; M. Jacques
Moleux had three canvases of varied styles : his
southern scenes are the work of a real colourist.
M. Francis Jourdain is also among the elite of this
Salon, and his fine gifts as painter and decorator
merit far more than this brief mention, as do
M. Lopisgich, M. Piot, with his admirable water-
colours, M. Rouault—whose vision of things
73