Studio: international art (56.1912)

Lucien Simon

and in its proper place, and the whole gives an
impression of solidity, of sober and sane beauty of
studious gravity.

Let us take several characteristic examples; for
instance, the large water-colour, Le Campement,
measuring over four feet wide, which we reproduce
in colour. It is obvious that this work has pro-
ceeded directly from a vision of reality seized in
all its activity and life and treasured up in the
memory. It shows us the little jetty of a Breton
fishing village, with a group of humble fisherfolk
gathered round the stone cross. One feels that
the artist coming suddenly upon the scene in the
course of one of his excursions has been profoundly
moved by the very sober yet very rich harmony of
blues and greys, browns and greens. Here and
there stronger notes of colour vivify the general
tonality of the whole, full of light and atmosphere
as it is. The picture depends for its merit upon
this atmospheric quality and upon the marvellously

exact appreciation of movement and of the in-
dividual expressions of the different characters
in the scene, though these latter considerations
have been only the secondary preoccupation of
the artist. At the same time his purely visual
pleasure, his delight in the why and wherefore of
these beautiful harmonies of greys, blues, and browns,
is animated and vivified by an inward sentiment of
curiosity and by an access of sympathy towards
these toilers of the sea. Looking at these idle
loungers on the quay, one feels instinctively that
they are made for sailing and fishing. When they
are debarred from going out with their nets the day
is a lost one. No other work is possible for them.
They must fish or do nothing. One is conscious
a little of fatigue and of coarseness. Chained to
the shore for one reason or another, these men let
the hours slip idly by without making the slightest
effort of whatever kind.

Very fine and very noble in the beauty of its

“ DEUX MARINS

FROM THE WATER-COLOUR DRAWING BY LUCIEN SIMON

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