DOI issue:
No. 247 (October 1913)
DOI article:Studio-talk
DOI Page / Citation link: https://doi.org/10.11588/diglit.21208#0093
Studio-Talk
highest merit. Just such a selection as this was
made by the organisers of this exhibition. Manet,
Monet, Pissarro, Sisley, Guillaumin, Degas, Renoir,
Lautrec, Cassatt and Morisot were all represented
by works of unquestionably premier order. By
Manet there was a little scene Les etudiants de
Salamanque which has the finished beauty of
a masterpiece of the Dutch school, also a very
fine portrait of his sister-indaw, and a superb little
sketch for TExecution de Maximilien. Three works
by Toulouse Lautrec, in particular the Bal public,
showed him to be one of the most spirited realists
of our times. Degas was represented by some of
his most beautiful pastels, among them an excellent
Portrait de Rejane; Monet and Sisley by various
landscapes, all of first-rate importance, and there
were hung also a score of pictures by Renoir,
figures, portraits, landscapes, still-life and flower-
pieces, in all of which this artist appeals by his great
gifts as a colourist.
Mary Cassatt and Berthe Morisot are the two
women painters of the Impressionist group who
have given proof of the greatest talent, and during
the last twenty years their work appears to have
been daily better understood and appreciated.
Both are assuredly great artists. Miss Cassatt was
particularly well represented in this exhibition, and
her important works depicting young women and
children seen in sunny gardens, are of delicate
sensibility and at the same time fresh and seductive
in execution. Some delightful examples of the art
of Berthe Morisot were also hung. Lastly the
work of Guillaumin was a prominent feature of
this exhibition. His art, at times very violent,
is not always understood, and his productions are
numerous and unequal. Messrs. Manzi Joyant’s
selection, however, afforded us the spectacle of
some most attractive bits of colour. The exhibi-
tion as a whole proved how much the finest
examples of Impressionism have in common with
the most classic art, and showed how the Impres-
sionist painters take their place in history beside
the masters of the past.
As a general rule we have no art exhibitions in
Paris during the summer, and all the galleries are
closed. This year, however, there was a very
interesting exhibition at the Bagatelle of the
Societe des Amis de Neuilly. Many of the painters
“THE CHRISTENING” (WOOD-SCULPTURE) BY AXEL PETTERSON-DODERHULT
(See Stockholm Studio-Talk, next page)
71
highest merit. Just such a selection as this was
made by the organisers of this exhibition. Manet,
Monet, Pissarro, Sisley, Guillaumin, Degas, Renoir,
Lautrec, Cassatt and Morisot were all represented
by works of unquestionably premier order. By
Manet there was a little scene Les etudiants de
Salamanque which has the finished beauty of
a masterpiece of the Dutch school, also a very
fine portrait of his sister-indaw, and a superb little
sketch for TExecution de Maximilien. Three works
by Toulouse Lautrec, in particular the Bal public,
showed him to be one of the most spirited realists
of our times. Degas was represented by some of
his most beautiful pastels, among them an excellent
Portrait de Rejane; Monet and Sisley by various
landscapes, all of first-rate importance, and there
were hung also a score of pictures by Renoir,
figures, portraits, landscapes, still-life and flower-
pieces, in all of which this artist appeals by his great
gifts as a colourist.
Mary Cassatt and Berthe Morisot are the two
women painters of the Impressionist group who
have given proof of the greatest talent, and during
the last twenty years their work appears to have
been daily better understood and appreciated.
Both are assuredly great artists. Miss Cassatt was
particularly well represented in this exhibition, and
her important works depicting young women and
children seen in sunny gardens, are of delicate
sensibility and at the same time fresh and seductive
in execution. Some delightful examples of the art
of Berthe Morisot were also hung. Lastly the
work of Guillaumin was a prominent feature of
this exhibition. His art, at times very violent,
is not always understood, and his productions are
numerous and unequal. Messrs. Manzi Joyant’s
selection, however, afforded us the spectacle of
some most attractive bits of colour. The exhibi-
tion as a whole proved how much the finest
examples of Impressionism have in common with
the most classic art, and showed how the Impres-
sionist painters take their place in history beside
the masters of the past.
As a general rule we have no art exhibitions in
Paris during the summer, and all the galleries are
closed. This year, however, there was a very
interesting exhibition at the Bagatelle of the
Societe des Amis de Neuilly. Many of the painters
“THE CHRISTENING” (WOOD-SCULPTURE) BY AXEL PETTERSON-DODERHULT
(See Stockholm Studio-Talk, next page)
71