DOI issue:
Nr. 148 (July 1905)
DOI article:Frantz, Henri: The salon of the Société Nationale des Beaux-Arts
DOI Page / Citation link:https://doi.org/10.11588/diglit.20712#0140
SociAe Nationale des Beaux-Arts, 1905
his portrait of Mademoiselle Polaire, on the other
hand, is one of his good bits of work, with its very
characteristic features, the dark complexion con-
trasting with the pale pink of the satin, and the
strikingly lifelike gesture.
M. Caro-Delvaille is by no means unknown to
the readers of The Studio, to whom last year I
had occasion to describe his excellent picture (now
at the Luxembourg) of some charming young
women in a modern boudoir, a decor that was
admirably treated. This year he exhibits a land-
scape scene with nude figures, and also two
portraits, one of Madame Edmond Rostand, and
the other of Mademoiselle Roily. I do not agree
with the severe criticisms that have been passed
upon the former of these portraits. I see in it an
attempt at greater simplicity in the setting, and
greater lucidity of expression. On the whole it
seems to me very distinguished in style and full of
charming detail. Among other things, the eyes
“the little white dancing girl”
are extremely expressive, and the hand is treated
with perfect mastery.
Keeping still to the domain of portraits, there
are not a few names worthy of note, especially
among the foreigners. M. Maurer surprises us
agreeably with the vigour of his scheme of colouring;
Mr. Austin Brown has a good portrait of a young
girl, beautiful in tone, but rather imitative of
Whistler in conception and handling; and Mr.
Bunny exhibits two portraits of women. But I
prefer another picture by this gifted artist (whose
art relates itself, in my mind, to that of the fine
Venetian painters), entitled Fallen Asleep: two-
beautiful young women lying by a pool that
glitters beneath the full glory of spring, while on
it some swans are displaying their graceful forms.
To return to the portraits, I must first mention
that of the painter Jules Adler by Mademoiselle
Delasalle, of whose fine robust talent as a colourist
I should have liked to speak more at length than
can be done in a mere
compte rendu oi the Salon ;
that of Mada?ne C., by R
Woogh, that of Dr. Fleuryr
by Pierre Bracquemond,
executed in that curious
wax - painting process of
his; and then I must
place quite by itself the
magnificent portrait of the
King of Spam, by R. Casas,
austere and distinguished,
and looking like one of
Velasquez’s personages on
his powerful horse.
In M. Lucien Simon’s
large picture, An Evening
in a Studio, there is a group
01 portraits. Treated in
the very individual style
peculiar to this artist, who-
is looked on as one of the
masters of the young French
school, we have here the
already famous figures of
Cottet, Georges Desval-
lieres, Rene Prinet and
Menard, with their wives
and children. The great
qualities which we are ac-
customed to associate with
Simon are plainly evinced
in this work; but there
by j. f auburtin are also certain defects.
122
his portrait of Mademoiselle Polaire, on the other
hand, is one of his good bits of work, with its very
characteristic features, the dark complexion con-
trasting with the pale pink of the satin, and the
strikingly lifelike gesture.
M. Caro-Delvaille is by no means unknown to
the readers of The Studio, to whom last year I
had occasion to describe his excellent picture (now
at the Luxembourg) of some charming young
women in a modern boudoir, a decor that was
admirably treated. This year he exhibits a land-
scape scene with nude figures, and also two
portraits, one of Madame Edmond Rostand, and
the other of Mademoiselle Roily. I do not agree
with the severe criticisms that have been passed
upon the former of these portraits. I see in it an
attempt at greater simplicity in the setting, and
greater lucidity of expression. On the whole it
seems to me very distinguished in style and full of
charming detail. Among other things, the eyes
“the little white dancing girl”
are extremely expressive, and the hand is treated
with perfect mastery.
Keeping still to the domain of portraits, there
are not a few names worthy of note, especially
among the foreigners. M. Maurer surprises us
agreeably with the vigour of his scheme of colouring;
Mr. Austin Brown has a good portrait of a young
girl, beautiful in tone, but rather imitative of
Whistler in conception and handling; and Mr.
Bunny exhibits two portraits of women. But I
prefer another picture by this gifted artist (whose
art relates itself, in my mind, to that of the fine
Venetian painters), entitled Fallen Asleep: two-
beautiful young women lying by a pool that
glitters beneath the full glory of spring, while on
it some swans are displaying their graceful forms.
To return to the portraits, I must first mention
that of the painter Jules Adler by Mademoiselle
Delasalle, of whose fine robust talent as a colourist
I should have liked to speak more at length than
can be done in a mere
compte rendu oi the Salon ;
that of Mada?ne C., by R
Woogh, that of Dr. Fleuryr
by Pierre Bracquemond,
executed in that curious
wax - painting process of
his; and then I must
place quite by itself the
magnificent portrait of the
King of Spam, by R. Casas,
austere and distinguished,
and looking like one of
Velasquez’s personages on
his powerful horse.
In M. Lucien Simon’s
large picture, An Evening
in a Studio, there is a group
01 portraits. Treated in
the very individual style
peculiar to this artist, who-
is looked on as one of the
masters of the young French
school, we have here the
already famous figures of
Cottet, Georges Desval-
lieres, Rene Prinet and
Menard, with their wives
and children. The great
qualities which we are ac-
customed to associate with
Simon are plainly evinced
in this work; but there
by j. f auburtin are also certain defects.
122