DOI issue:
Nr. 182 (May 1908)
DOI article:Studio-talk
DOI Page / Citation link:https://doi.org/10.11588/diglit.20777#0344
Studio-Talk
‘•un soir” by albert besnard
anguish, betraying a state ot great mental tension
—a longing for emancipation. The female figure
is symbolical of youth, of inspiration—it is Iris
the messenger of the gods, who seems to be
guarding something imponderable, something
celestial. The dim lighting of this group enhances
its tragic and sublime aspect.
M. Lucien Simon contributed an important
work in Les Ramasseuses de Pommes de Terre, a
painting which in its breadth of handling is extra-
ordinarily brilliant and vigorous. How boldly
those bright red ribbons show up against the
blue blouses of the peasant women and the
greyish yellow of the earth ! The works sent by
M. Rene Mdnard and M. Charles Cottet were,
as always, very noteworthy. The former, in addi-
tion to a series of delightful studies of Mont
Cervin in the Alps, was represented by a nude
in half-light, quite Virgilian in its calm repose.
In M. Cottet’s Vieille Femme a Vile de Seine,
the wrinkled and deeply furrowed face of the
aged woman, with its impress of sorrow, seems to
symbolize a succession of generations whose toil
has been by the sea, and yet it wears an aspect oi
placid calm which is quite impressive. The woman
holds in her hand a prayer book, and tranquil
hopefulness has transformed the expression of her
countenance. M. Cottet also showed a couple of
marine studies, very fine in colour, especially the
one called Soleil couchant sur les Flots.
M. Le Sidaner claims our particular notice. He
is a poet as well as a painter. I preferred his
Maison au Crepuscule on account of its admirable
atmospheric qualities. It is a revelation of domestic
life, this group seated around the lamp, whose light
shines through the half-closed blinds. In respect
of tone, just observation of colour, and the trans-
parency of its shadows, it is unimpeachable. And
scarcely less admirable were his other four pictures.
That seductive magician among painters, M.
Albert Besnard, exhibited a Soir, an enchanting
decorative composition; and M. Lobre, another
artist of magic gifts, reveals to us the mystic flam-
boiment of the stained-glass windows of Chartres
Cathedral, incomparable in the richness and gran-
325
‘•un soir” by albert besnard
anguish, betraying a state ot great mental tension
—a longing for emancipation. The female figure
is symbolical of youth, of inspiration—it is Iris
the messenger of the gods, who seems to be
guarding something imponderable, something
celestial. The dim lighting of this group enhances
its tragic and sublime aspect.
M. Lucien Simon contributed an important
work in Les Ramasseuses de Pommes de Terre, a
painting which in its breadth of handling is extra-
ordinarily brilliant and vigorous. How boldly
those bright red ribbons show up against the
blue blouses of the peasant women and the
greyish yellow of the earth ! The works sent by
M. Rene Mdnard and M. Charles Cottet were,
as always, very noteworthy. The former, in addi-
tion to a series of delightful studies of Mont
Cervin in the Alps, was represented by a nude
in half-light, quite Virgilian in its calm repose.
In M. Cottet’s Vieille Femme a Vile de Seine,
the wrinkled and deeply furrowed face of the
aged woman, with its impress of sorrow, seems to
symbolize a succession of generations whose toil
has been by the sea, and yet it wears an aspect oi
placid calm which is quite impressive. The woman
holds in her hand a prayer book, and tranquil
hopefulness has transformed the expression of her
countenance. M. Cottet also showed a couple of
marine studies, very fine in colour, especially the
one called Soleil couchant sur les Flots.
M. Le Sidaner claims our particular notice. He
is a poet as well as a painter. I preferred his
Maison au Crepuscule on account of its admirable
atmospheric qualities. It is a revelation of domestic
life, this group seated around the lamp, whose light
shines through the half-closed blinds. In respect
of tone, just observation of colour, and the trans-
parency of its shadows, it is unimpeachable. And
scarcely less admirable were his other four pictures.
That seductive magician among painters, M.
Albert Besnard, exhibited a Soir, an enchanting
decorative composition; and M. Lobre, another
artist of magic gifts, reveals to us the mystic flam-
boiment of the stained-glass windows of Chartres
Cathedral, incomparable in the richness and gran-
325