Studio: international art (77.1919)

M. FERNAND SCOUFLAIRE—DESSINATEUR

“ AU CABARET.” CHARCOAL
DRAWING BY F. SCOUFLAIRE

means that in its design, plan and eleva-
tion have grown up in harmonious pro-
portion, and that it refuses elaboration,
which might mask their fundamental inter-
lockings. It must be admitted that such
a definition deprives cubism of the aspect
of an ultra-modern invention—a sort of
patent Pelmanism of the arts which is its
attraction for the vulgar. Scouflaire's
drawing further suggests that it does not
preclude human interest and a certain
vigour and variety of characterization.
Drawing remains for him a dramatic art,
even within the narrow limits shown here,
which seem to offer but little scope. o
For he has as yet attempted but little
to develop the art of “ the producer ”—the
elaborate use of “ setting ” and the mar-
shalling of crowds. That may follow with
familiarity of those rules—no, to be
54

pedantic, let us say those principles of per-
spective which offer to the would-be
inventive draughtsman “ the key of the
street.” The modest drawings shown here
are ostensibly merely studies from the
model—I say ostensibly for, in watching
Scouflaire draw, one observes that while
sometimes the design is very like the model
with a shrewd underscore for the expressive
pose, and a stressing of the more apre
characteristics, yet sometimes the model
has evidently merely served as a cue
evoking souvenirs from a past full of odd
vicissitudes. I leave it to my readers to
judge whether such a talent as is shown
here would not be a welcome addition
to illustration in this country, though
the welcome a serious character draughts-
man may expect from publishers seems
doubtful. a a m a a