DOI Heft:
No. 232 (July 1912)
DOI Artikel:Segard, Achille: A French painter: Lucien Simon
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.21157#0111
Lucien Simon
A FRENCH PAINTER: LUCIEN
SIMON. BY ACHILLE SEGARD.
To observe, to comprehend, and to dis-
cover means of expression which shall be exclusively
picturesque, such is, I imagine, the conception,
involuntary or otherwise, which Lucien Simon has
of his art. He returns unceasingly to Nature,
makes a constant interrogation of her his pre-
occupation, endeavours always to capture something
of her spirit, and is ever desirous of rendering her
with the unsophisticated fidelity of a Primitive, the
work of interpretation, the reception of visual im-
pressions, and the recomposition in the mind of the
artist being carried on subconsciously. This work
of transposition, this effort of interpretation, though
held in restraint by the artist, plays, nevertheless, a
very important rdle in his work, and is that which
gives to his art its character. The clearness of
observation and those qualities of intelligence and
feeling which are revealed in the works of Lucien
Simon all contribute equally to our delight. No
matter what may be the subject, whether a portrait
or a picture of local costume or customs, one is
conscious of what has been felt by the artist.
If the motif be his admiration for a pretty
girl full of youth and freshness in Breton costume,
or his pity in the presence of the deep-scarred
visage of an old man whose life is rapidly drawing
to its close, or his passionate curiosity regarding
certain ways of life, certain modes of thought which
are purely instinctive, the picture always reveals
the heart and soul of the painter. And how honest
are the means by which he gives us this emotion !
To paint well, once said Fromentin, is to paint
with edat, with durability, and with consistency.
Before the works of Lucien Simon we may ask the
triple question, and almost always count upon a
triple meed of praise to be bestowed in response
thereto; he knows how to compose, how to con-
struct, and how to give to his colour force and
brilliance. This is not to say that his palette is
particularly rich, and I think it is fair to say that it
is never sparkling. But each tone is used rightly
“ SUR LA DUNE ”
LVI. No. 232.—July 1912
FROM THE WATER-COLOUR DRAWING BY LUCIEN SIMON
89
A FRENCH PAINTER: LUCIEN
SIMON. BY ACHILLE SEGARD.
To observe, to comprehend, and to dis-
cover means of expression which shall be exclusively
picturesque, such is, I imagine, the conception,
involuntary or otherwise, which Lucien Simon has
of his art. He returns unceasingly to Nature,
makes a constant interrogation of her his pre-
occupation, endeavours always to capture something
of her spirit, and is ever desirous of rendering her
with the unsophisticated fidelity of a Primitive, the
work of interpretation, the reception of visual im-
pressions, and the recomposition in the mind of the
artist being carried on subconsciously. This work
of transposition, this effort of interpretation, though
held in restraint by the artist, plays, nevertheless, a
very important rdle in his work, and is that which
gives to his art its character. The clearness of
observation and those qualities of intelligence and
feeling which are revealed in the works of Lucien
Simon all contribute equally to our delight. No
matter what may be the subject, whether a portrait
or a picture of local costume or customs, one is
conscious of what has been felt by the artist.
If the motif be his admiration for a pretty
girl full of youth and freshness in Breton costume,
or his pity in the presence of the deep-scarred
visage of an old man whose life is rapidly drawing
to its close, or his passionate curiosity regarding
certain ways of life, certain modes of thought which
are purely instinctive, the picture always reveals
the heart and soul of the painter. And how honest
are the means by which he gives us this emotion !
To paint well, once said Fromentin, is to paint
with edat, with durability, and with consistency.
Before the works of Lucien Simon we may ask the
triple question, and almost always count upon a
triple meed of praise to be bestowed in response
thereto; he knows how to compose, how to con-
struct, and how to give to his colour force and
brilliance. This is not to say that his palette is
particularly rich, and I think it is fair to say that it
is never sparkling. But each tone is used rightly
“ SUR LA DUNE ”
LVI. No. 232.—July 1912
FROM THE WATER-COLOUR DRAWING BY LUCIEN SIMON
89