Studio: international art (38.1906)

Studio- Talk

PARIS.—It was an extremely happy idea
on the part of the Societe Nationale to
have organised this retrospective exhibi-
tion it is holding. Although, strictly
speaking, the Pavilion de Bagatelle is more suited
to an exhibition of eighteenth-century art, it none
the less affords us an immense amount of pleasure
to see there some of the finest works of the
Society’s most renowned members. And, more-
over, it is a matter of particular interest, because
one is thus able to understand more clearly the
evolution of living artists who, unfortunately, have
not in all cases shown signs of progress.

resemblances to Gustave Moreau, although he
works on a larger scale; his paintings, besides
being larger, are also always marked by a more
decided decorative feeling. John Lewis Brown
is another of those who have passed away. His
little pictures with their rich colouring remind
one of a Carl van Loo of the Second Empire,
while they partake somewhat of Eugbne Lamis’
grandeur of conception. J. L. Brown is un-
doubtedly an artist who will endure. Neither has
Cazin anything to fear from the judgment of
posterity, and the organisers of the exhibition
acted wisely in bring'ng together a goodly num-
ber of his works.

Boudin and Lepine were
both of them very fine land-
scapists, who have only
lately been estimated at
their true value; painters
of pellucid streams and
sunlit shores, each of them
has his own particular me-
tier. Ldpine’s little picture
is particularly enjoyable,
while Boudin’s Plage de
Trouville is a work of the
first order.

A little-known artist to
whom a tribute is due is
Galland, who has some
170

As regards the deceased members, they are
naturally much in evidence here. Conspicuous
among them are Meissonier and Puvis de
Chavannes, both of them presidents of the society,
the former represented by his Guide, a war-scene
from La Vendee, larger than many of the things
he usually did; the latter by various works, among
them a really fine nude, almost Florentine in its
gracefulness.

To return to living artists, we observe at the
Pavilion a sterling work by Jacques Blanche; a
brilliant canvas by Montenard (Port de Toulon);
an excellent female portrait by Stewart; some ships
by Billotte, of really first-rate importance ; and some
sculpture by Carries, thus completing a most
attractive collection gathered together in an
altogether unique setting.

Carriere’s two contributions are altogether
masterly. In feeling and subject they hardly
differ from his later works, but the technique is
not the same, and if we may be permitted to
express a preference, we lean towards the two
works exhibited here. That woman with a child
in her lap is quite remark-
able for draughtsmanship
and vigorous handling, nor
can anyone fail to notice the
distinguished rendering of
his Woman’s Head.

This spring, as always, exhibitions of every kind
have been very numerous in Paris. At the
Gallery of Decorative Art there have been shown
the Scenes V'enitiennes, which Maxime Dethomas
has done for a book by Henri de Regnier, vigorous
drawings descriptive of everyday life at Venice.

“VENTE D’APPAT A CAPE COD

BY GEORGE ELMER-BROWNE