DOI Heft:
No. 198 (September, 1908)
DOI Artikel:Studio-talk
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.20967#0343
Studio-Talk
a poet of much talent, and one who has played
an important part in the renaissance of Catalan
literature and art.
The Societe Nationale des Beaux Arts has again
organised, this year, an interesting retrospective
exhibition in the charming eighteenth-century
pavilions. This consists of portraits of women who
lived in the days of the three French Republics, that
is at the end of the eighteenth century (after 1789)
in 1848 (second Republic), and after 1872. Of the
first period we have a few remarkable examples,
such as the admirable portrait of the Marquise de
Pastoret, by David (1748—1825), into which this
classical painter has put so much life and reality.
Baron Gros is also represented by portraits of the
actress Mile. Mezeray and Mine. Lucien Bonaparte,
which show us typical beauties of that period.
Greuze is represented by the portrait of his wife,
Mme. Vigee-Lebrun by portraits of herself, and
Mme. de Talleyrand Prudhon by a portrait of
Mine. Mayer. Among the less known artists,
Mme. Labille-Guiard, with the portrait of Duchesse
d'Aiguillon, Antoine Vestier, with one of Mme.
de Gen/is, J. B. Isabey, with a portrait of Clemen-
tine de Reiset and Heinsius with a portrait of Mile.
Bazin, are very interesting. The little works of
Boilly are also representative of the period ;
they charm by their admirable perfection. With
the Republic of 1848, we find the romantic school
in full bloom, but the works of Delacroix, Dev^ria,
Henri Lehmann, Ary Scheffer are not amongst the
best of this period. Of the first years of the third
Republic we have also a few good portraits, such
as a head of a girl, by Beraud, works by Bracque-
mond pere, Carolus-Duran, John Sargent, Carriere,
Delaunay, Hebert, Gervex, and especially Manet
with three beautiful portraits, all unnamed.
In all periods painters have found themselves
lured to depict the fleeting and transitory aspects
of the life of Paris, her streets, her theatres and
her restaurants. Among those who have done
very personal work of this nature, one must give a
place to M. Jean Lefort. In his Concert des
Ambassadeurs one finds him, not indeed in the
expression of it, but rather in the idea itself, hark-
ing back to the traditions of Toulouse Lautrec and
Constantin Guys. The artist has depicted with
consummate ability the appearance of the crowd
“concert des ambassadeurs”
BY JEAN LEFORT
3°9
a poet of much talent, and one who has played
an important part in the renaissance of Catalan
literature and art.
The Societe Nationale des Beaux Arts has again
organised, this year, an interesting retrospective
exhibition in the charming eighteenth-century
pavilions. This consists of portraits of women who
lived in the days of the three French Republics, that
is at the end of the eighteenth century (after 1789)
in 1848 (second Republic), and after 1872. Of the
first period we have a few remarkable examples,
such as the admirable portrait of the Marquise de
Pastoret, by David (1748—1825), into which this
classical painter has put so much life and reality.
Baron Gros is also represented by portraits of the
actress Mile. Mezeray and Mine. Lucien Bonaparte,
which show us typical beauties of that period.
Greuze is represented by the portrait of his wife,
Mme. Vigee-Lebrun by portraits of herself, and
Mme. de Talleyrand Prudhon by a portrait of
Mine. Mayer. Among the less known artists,
Mme. Labille-Guiard, with the portrait of Duchesse
d'Aiguillon, Antoine Vestier, with one of Mme.
de Gen/is, J. B. Isabey, with a portrait of Clemen-
tine de Reiset and Heinsius with a portrait of Mile.
Bazin, are very interesting. The little works of
Boilly are also representative of the period ;
they charm by their admirable perfection. With
the Republic of 1848, we find the romantic school
in full bloom, but the works of Delacroix, Dev^ria,
Henri Lehmann, Ary Scheffer are not amongst the
best of this period. Of the first years of the third
Republic we have also a few good portraits, such
as a head of a girl, by Beraud, works by Bracque-
mond pere, Carolus-Duran, John Sargent, Carriere,
Delaunay, Hebert, Gervex, and especially Manet
with three beautiful portraits, all unnamed.
In all periods painters have found themselves
lured to depict the fleeting and transitory aspects
of the life of Paris, her streets, her theatres and
her restaurants. Among those who have done
very personal work of this nature, one must give a
place to M. Jean Lefort. In his Concert des
Ambassadeurs one finds him, not indeed in the
expression of it, but rather in the idea itself, hark-
ing back to the traditions of Toulouse Lautrec and
Constantin Guys. The artist has depicted with
consummate ability the appearance of the crowd
“concert des ambassadeurs”
BY JEAN LEFORT
3°9