DOI Heft:
No. 203 (February, 1910)
DOI Artikel:Studio-talk
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.20969#0083
Studio-Talk
The bust of Barbey d’Au-
revilly by Rodin, which is
reproduced on this page,
is that which was referred
to in my notes last month.
Among the smaller ex-
hibitions that of the
“Eclectique” was particu-
larly noteworthy by reason
of the perfect taste with
which the various works
exhibited by the members
were hung, and indeed
artists and organisers of
exhibitions especially might
well take a lesson in taste-
ful arrangement from it.
Paintings, sculptures, laces,
tapestries, all were placed
in very agreeably harmo-
nious juxtaposition in the
Galerie des Artistes Mod-
ernes, and the success
which attended the show
was amply deserved. First
my attention was attracted
by the carvings in wood
60
BUST OF BARBEY D AUREVILLY
(By permission of M. Harlingue)
BY AUGUSTE RODIN
more important works are required and, briefly,
those which, to the eyes of a future generation,
will be representative of the definite manner and
complete style of the artist. There were certainly
in this exhibition many works which honourably
represent the present-day French school, such as
the two beautiful panels of a diptych by Menard,
which were shown at the Salon 1909 and were
illustrated in The Studio last June (p. 48^
al-o La Mine by Gillot, Palerme (1676) by
Fouqueray (a superb picture of that naval battle),
E Enfant d la Crinoline by Desch, a fine landscape
by Guillemet, a charming sea-piece by Mesle,
figure paintings by Raffaelli, and a delightful
Salut d Paris by Willette. Among the sculpture
I must mention two excellent busts of women by
Rodin, and also the interesting and valuable busts
of Degas and of Renoir by Paulin. The head
of Bonnat by Segoffin is a masterly piece of work;
the artist has imbued the
image of his model with a
character, a vigour and a
vitality which one must
designate as truly remark-
able.
by Raymond Bigot. This artist, who must be
counted among our leading animaliers, has made
a speciality of wood carving — an art much
neglected nowadays, but which served artists of
bygone days for so many masterpieces. His very
fine Dindon, which has been acquired by the
Government, has been already seen in the Salon.
At present Bigot is engaged in work more deco-
rative in character, and in this he succeeds equally
and exceedingly well. In particular I noticed his
frame for a mirror, his frieze of pigeons, destined
for a bed, and his Vol de Corbeaux—a decorative
panel carved and inlaid. Another sculptor of great
talent, though in a different style, is M. Henry
Bouchard, whose large Bceufs at the last Salon is
still fresh in our memory. His Jeune file d la
Gazelle, a group in bronze a cire perdue, is a little
work which would not appear incongruous if
placed in the museum of antiquities at Naples.
The bust of Barbey d’Au-
revilly by Rodin, which is
reproduced on this page,
is that which was referred
to in my notes last month.
Among the smaller ex-
hibitions that of the
“Eclectique” was particu-
larly noteworthy by reason
of the perfect taste with
which the various works
exhibited by the members
were hung, and indeed
artists and organisers of
exhibitions especially might
well take a lesson in taste-
ful arrangement from it.
Paintings, sculptures, laces,
tapestries, all were placed
in very agreeably harmo-
nious juxtaposition in the
Galerie des Artistes Mod-
ernes, and the success
which attended the show
was amply deserved. First
my attention was attracted
by the carvings in wood
60
BUST OF BARBEY D AUREVILLY
(By permission of M. Harlingue)
BY AUGUSTE RODIN
more important works are required and, briefly,
those which, to the eyes of a future generation,
will be representative of the definite manner and
complete style of the artist. There were certainly
in this exhibition many works which honourably
represent the present-day French school, such as
the two beautiful panels of a diptych by Menard,
which were shown at the Salon 1909 and were
illustrated in The Studio last June (p. 48^
al-o La Mine by Gillot, Palerme (1676) by
Fouqueray (a superb picture of that naval battle),
E Enfant d la Crinoline by Desch, a fine landscape
by Guillemet, a charming sea-piece by Mesle,
figure paintings by Raffaelli, and a delightful
Salut d Paris by Willette. Among the sculpture
I must mention two excellent busts of women by
Rodin, and also the interesting and valuable busts
of Degas and of Renoir by Paulin. The head
of Bonnat by Segoffin is a masterly piece of work;
the artist has imbued the
image of his model with a
character, a vigour and a
vitality which one must
designate as truly remark-
able.
by Raymond Bigot. This artist, who must be
counted among our leading animaliers, has made
a speciality of wood carving — an art much
neglected nowadays, but which served artists of
bygone days for so many masterpieces. His very
fine Dindon, which has been acquired by the
Government, has been already seen in the Salon.
At present Bigot is engaged in work more deco-
rative in character, and in this he succeeds equally
and exceedingly well. In particular I noticed his
frame for a mirror, his frieze of pigeons, destined
for a bed, and his Vol de Corbeaux—a decorative
panel carved and inlaid. Another sculptor of great
talent, though in a different style, is M. Henry
Bouchard, whose large Bceufs at the last Salon is
still fresh in our memory. His Jeune file d la
Gazelle, a group in bronze a cire perdue, is a little
work which would not appear incongruous if
placed in the museum of antiquities at Naples.