Studio: international art (84.1922)

THE OLD SALON, PARIS, 1922

nocturnal fogs from their palettes, while
from not a few landscapes the spirit of
heat and sunlight vigorously called. In
that way Adam Styka's Une rue couverte
(Fez) was exceptionally well expressed,
and there was, too, a subtle charm in
Raymond Wintz's landscape Le port de
Cancale. Mile. Marcelle Ackein's Un
dour (bled marocain) was certainly delight-
fully personal and decorative in its con-
ception, while the feeling of life and light
was wonderfully conveyed by Maurice
Bouviolle in his Jour de Marche a Ghandcda
(M'zab). Then one had the artificial
lighting in Francois Flameng's Fete
Nocturne, with all the brilliance that one
associates with a gay terrace of a Bois de
Boulogne restaurant on a warm summer
night. With a certain affinity of attraction

one was drawn to the strikingly fashionable
work of J. G. Domergue, notably his
Spinelli with its vigorously painted figure,
white cockatoos and red screen, and the
variation of a similar palette used in his
La Dame d la Rose against a gold screen
background, luminous red, white and
green chair drapery, on which rests the
dark haired figure in magenta slippers with
her rose. Perhaps more remarkably im-
pressive was a work to which a considerable
amount of attention has been paid—the
decoratively conceived canvas, Les pigeons
blancs, by J. T. Dupas, exceptionally
brilliant in its yellow, red and blue back-
ground, black drapery and foreground
display of rich red and violet fruit, on a
green spacing, where the flesh-coloured
figures gambol harmoniously in rhythm

LA DAME A LA ROSE "
BY J. G. DOMERGUE

(Photo, Vizzavona)

II