Studio: international art (55.1912)

Studio-Talk

Impressionist school, has since developed a very
personal manner; his palette has taken on an ex-
treme richness, his skies have become light and
limpid, and, in a word, he allies a very beautiful
technique with profound and subtle comprehension
of nature.

Chez Devambez Francis Auburtin gathered to-
gether a collection of his water-colour paintings.
On many previous occasions I have been com-
pelled to praise the very personal work of this
artist, but in his recent exhibition he surpassed
himself. His masterly water-colours depicting the
slopes of Varengeville, his landscapes of the Mid-
lands of France, all bear the impress of his fine
and powerful individuality, and the exhibition
achieved in consequence a great success.

Among the more important of the smaller exhibi-
tions which precede the two big spring Salons
one must always put in the front rank that of the

Societe Nouvelle, which this year deserves a greater
meed of recognition since we shall not find any
work at the Salons of certain of its most personal
members — Blanche, Menard, Simon — who are
reserving themselves exclusively for the Venice
Exhibition. The first of these artists showed
works which were very - varied in character, and
revealed all the strength of his execution as
well as the elegance of his taste. He charmed by
his diversity. M. Raffaelli remains the admirable
colourist that he always is; he depicted in
turn with equal success aspects of the Valley
of the Loing and sunny landscapes of the
south, while M. Rene Menard transcribed with
infinite poetry the magic spectacles of ancient
Greece. Brittany found its ever faithful interpreters
in the pregnant work by Cottet, Dauchez, and
Ullmann, whose palette is charged with an in-
finitely delicate range of colours. M. de la
Gandara remains the sympathetic painter of the
modern woman, whose elegance has for him no

“ I.ES QUAIS D’HENNEBONT, BRETAGNE

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BY PAUL MADELINE