DOI Heft:
No. 268 (July 1915)
DOI Artikel:Studio-talk
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.21213#0156
Studio-Talk
“PANNEAU DECORATIF: LE REPOS DES LABOUREURS”
BY FERNAND MAILLAUD
intimately-observed snow scene by Andre Rebut, a
large dramatic Kyrie Eleison by Georges Deval-
lieres, a reposeful landscape in harmonious greys
and blues by Henri Marret, Jean Lefort’s Journaux
du Soir, and the work in gouache by A. Sureda.
Amongst the many excellent sketches and re-
miniscent notes executed in the open and under-
ground ateliers of the battlefield those by Georges
Bruyer, Mathurin Meheut, L. Montagne, and Paul
Jouve were especially attractive; other remarkable
black-and-white work being by J. J. Lemordant
E. Herscher, and J. J. Champcommunal. The last-
named artist’s large canvases in oil showed a modern
outlook of vast promise, but his life, alas! was claimed
by the toll of war in one of the early battles.
Then there is the exhibition, “ La Guerre et les
Humoristes,” in the Galerie la Boetie, where one
will find comedy and tragedy side by side. It is
an exhibition one must not miss. Apart from the
vigorous art displayed in various mediums, it is a
veritable history of the war with which no descrip-
136
tive journalism could be so lucidly compared.
The Exodes de paysans and Evacues ei paysans en
fuite by T. A. Steinlen, are at once remarkable by
their expressive simplicity. J. L. Forain, another
of France’s supreme artists, shows twelve drawings
and etchings of extreme interest, while other
notable works which make a strong appeal as art
and exceptionally fine craftsmanship, as well as by
their topical character, are by Maxime Dethomas,
Hermann-Paul, Robert Noir, F. Paulbot, A. Roubille,
Maurice Leroy, Jean Ray, Ricardo Flores, and
Abel Faivre. It is interesting, too, to compare the
delightful drawings of earlier war days by the late
Caran D’Ache with those of various artists to-day.
Five minutes by the Nord-Sud railway, or twenty
on foot through the now uncommonly beautiful
and quiet streets, will take one from either of these
exhibitions to the heart of the Latin Quarter.
There the numerous signs inscribed “ Chambres a
louer,” “ Ateliers a louer,” are ominous reminders
of the great change wrought in the course of the
“PANNEAU DECORATIF: LE REPOS DES LABOUREURS”
BY FERNAND MAILLAUD
intimately-observed snow scene by Andre Rebut, a
large dramatic Kyrie Eleison by Georges Deval-
lieres, a reposeful landscape in harmonious greys
and blues by Henri Marret, Jean Lefort’s Journaux
du Soir, and the work in gouache by A. Sureda.
Amongst the many excellent sketches and re-
miniscent notes executed in the open and under-
ground ateliers of the battlefield those by Georges
Bruyer, Mathurin Meheut, L. Montagne, and Paul
Jouve were especially attractive; other remarkable
black-and-white work being by J. J. Lemordant
E. Herscher, and J. J. Champcommunal. The last-
named artist’s large canvases in oil showed a modern
outlook of vast promise, but his life, alas! was claimed
by the toll of war in one of the early battles.
Then there is the exhibition, “ La Guerre et les
Humoristes,” in the Galerie la Boetie, where one
will find comedy and tragedy side by side. It is
an exhibition one must not miss. Apart from the
vigorous art displayed in various mediums, it is a
veritable history of the war with which no descrip-
136
tive journalism could be so lucidly compared.
The Exodes de paysans and Evacues ei paysans en
fuite by T. A. Steinlen, are at once remarkable by
their expressive simplicity. J. L. Forain, another
of France’s supreme artists, shows twelve drawings
and etchings of extreme interest, while other
notable works which make a strong appeal as art
and exceptionally fine craftsmanship, as well as by
their topical character, are by Maxime Dethomas,
Hermann-Paul, Robert Noir, F. Paulbot, A. Roubille,
Maurice Leroy, Jean Ray, Ricardo Flores, and
Abel Faivre. It is interesting, too, to compare the
delightful drawings of earlier war days by the late
Caran D’Ache with those of various artists to-day.
Five minutes by the Nord-Sud railway, or twenty
on foot through the now uncommonly beautiful
and quiet streets, will take one from either of these
exhibitions to the heart of the Latin Quarter.
There the numerous signs inscribed “ Chambres a
louer,” “ Ateliers a louer,” are ominous reminders
of the great change wrought in the course of the