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709.44074
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catalogue of an exhibition
of works by the members of
the "société des peintres et
des sculpteurs" (formerly the
société nouvelle of paris)
auguste rodin, president
THE ART INSTITUTE OF CHICAGO
JANUARY 4 TO JANUARY 26
1912
THE ART INSTITUTE
Michigan Avenue, opposite Adams Street, Chicago
THE ART INSTITUTE OF
CHICAGO
Catalogue of an exhibition of works.by
THE MEMBERS OF THE SOCIETE DES
PEINTERS ET SCULPTEURS
FORMERLY THE SOCIÉTÉ NOUVELLE OF PARIS
PRINTED FOR THE ART INSTITUTE OF CHICAGO
JANUARY 4 to JANUARY 28. 1912
TRUSTEES, OFFICERS AND CO^IMITTEES OF
THE ART INSTITUTE OF CHICAGO, 1911-1912
EDWARD E. AYER—ADOLPHUS C. BARTLETT—JOHN C. BLACK—
CHAUNCEY J. BLAIR—CLARENCE BUCKINGHAM—DANIEL H.
BURNHAM—EDWARD B. BUTLER—CLYDE M. CARR—HENRY H.
GETTY—JOHN J. GLESSNER—FRANK W. GUNSAULUS—CHARLES
L. HUTCHINSON—BRYAN LATHROP—FRANK G. LOGAN—R. HALL
McCORMICK—JOHN J. MITCHELL—SAMUEL M. NICKERSON—
HONORÉ PALMER—MARTIN A. RYERSON—HOWARD SHAW-
ALBERT A. SPRAGUE.
EX-OFFICIO—CARTER H. HARRISON (Mayor)—JOHN E. TRAEGER
(Comptroller)—JOHN BARTON PAYNE (President South Park Commis¬
sioners)—JOSEPH DONNERSBERGER (Auditor So. Park Commissioners)
OFFICERS—CHARLES L. HUTCHINSON, President—MARTIN A.
RYERSON, Vice-President—FRANK G. LOGAN, Vice-President— ERNEST
A. HAMILL, Treasurer—WILLIAM M. R. FRENCH, Director—WILLIAM
A. ANGELL, Auditor—NEWTON H. CARPENTER, Secretary—WILLIAM
F. TUTTLE, Assistant Secretary.
EXECUTIVE COMMITTEE—CHARLES L. HUTCHINSON—MARTIN
A. RYERSON—FRANK G. LOGAN—ALBERT A. SPRAGUE—HOWARD
SHAW— CLARENCE BUCKINGHAM—CLYDE M. CARR.
ART COMMITTEE—CHARLES L. HUTCHINSON—MARTIN A.
RYERSON—HOWARD SHAW—BRYAN LATHROP—FREDERIC C.
BARTLETT—FRANK G. LOGAN—EDWARD B. BUTLER.
The art institute of Chicago was incor¬
porated May 24, 1879, for the "founding and
maintenance of schools of art and design, the formation
and exhibition of collections of objects of art, and the
cultivation and extension of the arts of design by any
appropriate means." The Museum building upon the
Lake Front, first occupied in 1893, is open to the public
every week day from 9 to 5, Sundays from 12 :15 to 5.
Admission is free to members and their families at all
times, and free to all upon Wednesdays, Saturdays,
Sundays and public holidays.
The Art School, in the same building, includes de¬
partments of Drawing, Painting, Sculpture, Illustration,
Decorative Designing, Normal Instruction, and Archi¬
tecture.
All friends of the Art Institute are invited to become
members. Annual Members pay a fee of ten dollars a
year. Life Members pay one hundred dollars and are
thenceforth exempt from dues. Governing Members pay
one hundred dollars upon election and twenty-five dollars
a year thereafter. Upon the payment of four hundred
dollars. Governing Members become Governing Life
Members and are thenceforth exempt from dues. All re¬
ceipts from life memberships are invested and the income
only expended.
All members are entitled, with their families and vis¬
iting friends, to admission to all exhibitions, receptions,
public lectures, and entertainments given by the Art In¬
stitute, and to the use of the Ryerson reference library
upon art.
DESIGNATION OF GALLERIES
MAIN FLOOR
SEE PLAN
Rooms 1, 2, 3, 4, 5, 7, 8, 10, 12, Elbridge O. Hall Collection of
Casts of Sculpture.
Room
1,
Egyptian, Assyrian, Babylonian, etc.
Room
2,
(Corridor)
Asia Minor and Early Greek
Room
3,
. Greek, V and IV Centuries B. C.
Room
4,
Late Greek Sculpture
Room
3,
Roman Sculpture
Room
6,
(Corridor)
Higinbotham Collection of Naples Bronzes
Room
7,
Roman Sculpture
Room
8,
(Hall) .
Modern Sculpture
Room
9,
Check Room
Room
10,
Renaissance Sculpture
Room
11,
(Corridor)
Historical Collection of French Sculpture
Room
12,
Itlodern Sculpture
Room
13,
( Corridor)
Getty Collection of Musical Instruments
Room
14,
Paintings
Room
15a,
Egyptian Antiquities
Room 15b,
Classical Antiquities
Room
16,
Commercial Club Plans for Chicago
Room
IS,
Fullerton Memorial Hall
Room
20,
Blackstone Collection of Architectural Casts
Room
24,
The Ryerson Library
ART lN;!>nrUTt OFCHICAO.O. PJ.AH OF FJRST FI.OOR . Igll
DESIGNATION OF GALLERIES
SECOND FLOOR
Loan Exhibition of Portraits
(Corridor) .... Autotypes
Paintings
Hutchinson Gallery of Old Masters
(Corridor) Arundel Reproductions and Medals
Curators' Room
(Hall) . . . Sculpture and Paintings
Guards' Room
( Corridor) . . Sculpture and Drawings
Henry Field Memorial Collection ; Paintings
Elizabeth Hammond Stickney Room : Paintings
Albert A. Munger Collection : Paintings
y . Nickerson Collection ; Paintings ; Oriental Art
I Collection of the Antiquarian Society; Textiles, etc.
Rosenbaum Collection of Ivories
...... Store Room
Butler Collection of Paintings by Inness
(Corridor) . . . Ceramics and Metals
American Paintings
Y Exhibition, Société des Peintres et Sculpteurs
. Exhibition, Works of Wm. Rothenstein
Ceramics and Drawings
(3rd floor) North Print Room : Etchings by Meryon
(.3rd floor) South Print Room: Works of Rothenstein
47
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ART INSTITUTE OK CHICAGO, PLAN OK »5ECOND KLOOR.I911
. Coartesy of Edouard Steichen
AUGUSTE RODIN
President, Société Nouvelle
[ 12 ]
PREFATORY
Properly to judge any art movement, it is most essential
to study the conditions that existed at the time when such
a movement started and to analyze the natures that called
it into existence. France has been the scene of the art struggle
for a century. Absolutely robbed of all feeling by the classical
Academic School, for a time art seemed doomed, but in addition
to the brilliant work done by the French Impressionists, who
form a school unto themselves, a new element has come forward,
essentially sincere and immensely interesting, and strong in its
appeal, especially to Americans. In this school, efforts to evade
the usual and commonplace are plainly evident, and its aim is to
give to the world feeling, forcefulness, and color, with a handling
that is interesting, yet not too minute, nor, on the other hand, too
careless.
This important group of men, which is known as the Société
Nouvelle, includes both painters and sculptors, and has the dis¬
tinction of claiming Rodin as its president. It is to-day em¬
phatically the strongest and most homogeneous of the numerous
societies whose various exhibitions follow one after the other
in the Paris galleries. This group achieves the difficult feat of
uniting no less than thirty artists who are all men of great
talent; nearly all the members are French, but America has the
honor of contributing three celebrated painters, John Alexander,
Walter Gay, and John Sargent; Canada gives it J. W. Mortice;
Russia, Prince Paul Troubetzkoy; and Belgium two or three
of her most able men.
It was by reason of its greatness and because the work of the
men in the Société Nouvelle is always worthy of sincere study,
and produces great enthusiasm on the part of artists and art
students, that the Director of the Albright Art Gallery singled it
out and went to Paris to bring over work by each member of the
Société for exhibition at the Albright Art Gallery, the Art Insti¬
tute of Chicago, and the City .-Vrt Museum of Saint Louis. In
order to accomplish the task, it was necessary to meet and win the
confidence of all the artists and collectors, the directors of the
Louvre and Luxembourg, and the directors of the Georges Petit
galleries, where this great group holds its annual exhibition in
Paris every March. The importance and magnitude of an exhibi¬
tion bv these painters in America can scarcely be conceived. It was
known that the Société Nouvelle had never been willing to leave
Paris, even to e.xhibit in its neighboring European countries—
yet the Director of the Albright Art Gallery felt it worthy of a
trial for the chance of its accomplishment. All the studios were
[ 13 ]
visited, not only in Paris, but in Meudon, where Rodin creates ;
in Saint-Cloud, where La Touche paints—inspired by the linger¬
ing influence of Marie Antoinette for sylvan scenes and fêtes—
and in various out-of-town studios, where the members of the
Société Nouvelle have their summer residences. The artists
were one and all courteous and charming, but two difficulties
eclipsed all the others ; first, no one was anxious to have his
works go so far ; secondly, these men have such an international
reputation that the majority of their paintings have been pur¬
chased in Paris and carried to distant countries for important
private collections and museums. Rodin is personally sending
three bronzes from his studio. Through the intercession of
Monsieur Charles Cottet, a group of ten works by the late Eugène
Carrière is included — Madame Carrière herself contributing
family portraits ; and a special privilege was accorded by the
Luxembourg authorities, who through their Director. Monsieur
Léonce Bénédite, have lent important works by Aman-Jean,
Walter Gay, Lucien Simon, and Lepère. Such a favor has never
been granted before. At first the Paris world of art was evasive,
but finally became enthusiastic and joined feelingly and helpfully
with the Director of the Albright Art Gallery in all of her
strenuous efforts for this exhibition. The thanks of the Buffalo
Fine Arts Academy, Albright Art Gallery, and its Director are
tendered to the artists represented, the collectors and dealers,
who have so generously lent pictures, the Directors of the Louvre
and Luxembourg, the French Government Officials, the Georges
Petit Galleries, and to those persons in France and elsewhere
who have given sympathetic cooperation in the work of organ¬
izing the first Exhibition of the Société Nouvelle in America.
CORNELIA BENTLEY SAGE.
Art Director of the Buffalo Fine Arts Academy
Note. The catalogue of the present e.xhibition is prepared and
edited by Miss Sage.
[ 14 ]
THE TRUSTEES OF THE ART INSTITUTE OF CHICAGO DESIRE TO
EXPRESS THEIR THANKS TO THEIR FRENCH FRIENDS WHO HAVE
MADE THIS EXHIBITION POSSIBLE. AND ALSO TO MISS SAGE, THE
DIRECTOR OF THE ALBRIGHT ART GALLERY OF BUFFALO.
[ 15 ]
EUGÈNE CARRIÈRE: SELF-PORTRAIT
[ ir, ]
CATALOGUE
OF AN EXHIBITION OF WORKS BY THE MEMBERS OF
THE SOCIÉTÉ DES PEINTRES ET SCULPTEURS
(FORMERLY THE SOCIÉTÉ NOUVELLE OF
PARIS), AUGUSTE RODIN, President
ALEXANDER, JOHN W.
John W. Alexander, one of the American members of the
Société Nouvelle, of France, was born in Pittsburgh in 1856, and
studied first at the Munich Royal Academy, later under Frank
Duveneck. He is an associate member of Société -Nationale des
Beaux-Arts and of the Royal Belgian Society of the Fine Arts ;
an honorary member of the Vienna and Munich Secession Socie¬
ties ; president of the National Academy of Design, New York;
Chevalier of the Legion of Honor; honorary M. A. and Lift. D.
from Princeton; and has won Temple Gold Medal, Philadelphia,
1897 ; Lippincott Prize, Pennsylvania Academy of the Fine Arts,
Philadelphia. 1899 ; gold medal, Paris Universal Exposition,
1900; Carnegie Prize, Society of American Artists, New York,
1901 ; gold medal, Pan-American Exposition, Buffalo, 1901 ;
gold medal of honor, Pennsylvania Academy of the Fine Arts,
Philadelphia, 1903; Corcoran Prize. Washington. D. C., 1903;
gold medal. Universal Exposition. St. Louis, 1904 ; and has won
so many other honors, and is a member and President of so
many Societies, that space prevents their mention. He is repre¬
sented in practically every important American museum, as well
as in the Luxembourg, Paris. l\Iuseums of St. Petersburg, Vienna,
and Odessa. Numerous private collections also contain his
portraits and other paintings. He is one of the original mem¬
bers of the Société Nouvelle and has always been deeply in
sympathy with their aims and ambitions.
1. At the Window.
[ 17 ]
JOHN W. ALEXANDER
[ 18 ]
AMAN-JEAN, EDMOND
Edmond Aman-Jean was born at Chevry-Cossigny, Seine-et-
Marne, in 1860. He belongs to the modern school of French
artists of the period 1885 to 1895 who joined the secessionists,
led by Meissonier and Puvis de Chavannes. His work is intro¬
spective, psychological, temperamental in character and very
decorative. He is the chief of a very considerable school, which
believes that poetry in modern life still exists.
It is the temperament of Aman-Jean which has led him to con¬
ceive and paint works which, in almost every respect, are in strong
contrast of line and precise features. Aman-Jean expresses
primarily color, harmony of tone, values in their relation to each
other. In his pictures the light of the atmosphere is filled with a
thousand influences. Others excel in their ability to seize con¬
tours alone ; Aman-Jean suggests in his forms the ability to
receive and radiate light. Around his objects and figures there
is, as it were, a halo, invisible though felt. This is what painters
call the " envelope." Whether out of doors or in a room with
open windows, air and light tremble around each figure and
object, encircle, contain, and bathe them all in diffused rays. In
the elaboration of his pictures the effect made upon the eye play.s
the first part, but hardly less felt is a sentimental intuition and
a tenderness which is almost melancholy. His favorite subjects
are women. His methods are suggestive of the Japanese.
Aman-Jean is represented by mural decorations in many of the
important public buildings in France, including Les Arts Déco¬
ratifs. His works are in the Luxembourg, and important
museums like those at Lyons and Dijon have given his pictures
especial prominence. America is proud to acknowledge that one
of the most important works by Aman-Jean is owned by the
Carnegie Institute of Pittsburgh. He is also represented in the
private collection of Albert Herter, Esq., Victor Harris, Esq.,
Grosvenor Atterbury, Esq., and William Bosworth, Esq., of
New York.
He is a member of many important societies, including the
Société Nationale des Beaux-Arts, Paris, and the Société
Nouvelle.
2. The Conversation.
Purchased for the Permanent Collection of the Buffalo Fine Arts
Academy, Albright Art Gallery.
3. The Gold-Fish. (Decorative Panel.)
4. The Kid. (Decorative Panel.)
5. Lemons and Aquarium, (Still Life.)
6. Morning.
7. Portrait of Madame Aman-Jean.
Lent from the Luxembourg Gallery, Paris, through the courtesy of
Léonce Bénédite, Director, and the French Government.
[ 10 1
EDMOND AMAN-JEAN
[ ^0 ]
s. On the Balcony.
Lent by Victor Harris, Esq., New York,
i). Portrait of i\Irs. Albert Herter.
Lent by Albert Herter. Esq., New York.
10. Portrait of Mrs. William Bosworth.
Lent by William Bosworth, Esq., New York.
11. Portrait of Mrs. Grosvenor Atterbury.
Lent by Grosvenor Atterbury, Esq., New York.
1:2. Portrait of Mrs. John W. Beatty.
Lent by John W. Beatty, Esq., Pittsburgh.
i:î. Study-Head of a Woman.
Lent by W. H. Hinkle, Esq., Paris.
BAERTSOEN, ALBERT
Albert Baertsoen was born at Ghent, in 1866. He came from
a rich industrial family, who destined him for the same career,
and it was as an amateur that he began to paint.
He worked with such assiduity, however, that in 1887 he
e.xhibited at the Paris Salon "Canal, Matinée de Mars" ; and
the success of this picture so greatly encouraged him that from
this time he gave himself definitely to art.
He entered the studio of Roll and worked there for two years.
In 1869, he again e.xhibited his subject " Le Dernier Rayon."
Since then his works have been constantly shown at the suc¬
cessive Salons of the Société Nationale.
We owe to him "Vieux Canal Flammand " (in the Luxem¬
bourg), "Rivière en Décembre," "Grande rue à Nieuport,"
" Vieux quai en Novembre," and many others.
The Musée de Bruxelles owns " Les Chalands sous le neige "
(1901), one of his most beautiful canvases; and to the Luxem¬
bourg belongs " Le Dégel," which is, perhaps, his chef-d'oeuvre.
14. Street at Bruges.
Lent by Geurges Petit Galleries, Paris.
BESNARD, PAUL ALBERT
Paul Albert Besnard was born in Paris, June 2, 1849. He
came from a family of artists, his father having been a pupil of
Ingres and his mother a miniaturist. At an early age he entered
the École des Beaux-Arts, and while still a mere boy made his
début at the Salon of 1868. In 1874, he took the Prix de Rome.
Shortly afterward he married the daughter of the sculptor.
Vital Dubray, a sculptor herself, who has successfully led her
own career side by side with that of her husband. For two years
they lived in London, where Besnard came under the sway of
impressionism and the famous open-air school. His receptive
faculties enabled him to acquire and assimilate on all sides,
[ 21 ]
ALBERT BAERTSOEN
[ 22 ]
while at the same time losing nothing of his strength and
personality.
In 1886 appeared his portrait of Madame Roger Jourdain, a
young woman in brilliant evening dress advancing upon a terrace ;
the swiftly vanishing light of day, and that thrown on the scene
by the golden flow of artificial light, depicts each warring with
the other for supremacy. The same effect of conflicting lights
is charmingly exemplified in the " Femme qui se chauffe," now
at the Luxembourg.
This kind of exercise gave Besnard an incomparable supple¬
ness in depicting various aspects of forms, and most of all those
in motion. But the greatest triumph of all is in decoration;
this is the result not only of the taste and method which, allied
to his rich, artistic temperament, enables him to cover huge
walls as he does, but also of the imagination, which leads him to
conceive and execute allegories under entirely new methods. All
his decorations, beginning with that of " École de Pharmacie,"
which won for him great fame, show with what ease the artist
moves in the realms of dreams.
Since 1903, Paul Albert Besnard has been Commander of the
Legion of Honor. He is represented in all the important private
collections and museums of Europe, and his mural decorations
are found in many of the important buildings, especially in Paris.
His famous portrait of Rejane is owned by Émile Sauer, the
musician, who lives in Dresden. The beautiful work entitled
"Nude Figure" by Besnard was lent for a time to the Metro¬
politan Museum of Art, New York City. It belongs to Hamilton
Easter Field, Esq., who has lent it for the present exhibition.
Paul Albert Besnard is a member of the Société Nationale des
Beaux-Arts and the Société Nouvelle of Paris.
1.5. The Smile.
Lent by Georges Petit Galleries, Paris.
16. Flowers and Turtle-doves.
Lent by Georges Petit Galleries, Paris.
IT. Portrait of Ex-Senator William A. Clark.
Lent by William A. Clark, Esq., New York.
18. Nude Figure.
Lent by Victor Harris, Esq., New York.
19. Nude Figure.
Lent by Hamilton Field, Esq., Brooklyn, N. Y.
BLANCHE, JACQUES-EMILE
Jacques-Emile Blanche was born at Paris, January 30, 1861.
His first works are imbued with the gifts which indicate high
culture, a just sentiment of the conditions of his art, and an
innate distinction of taste.
[ 23 ]
PAUL-ALBERT BESNARD
[ 24 ]
He seemed at one time to follow the impressionistic leading
of Manet ; but this was mitigated by the influence of the English
artists, notably Gainsborough. This influence is shown in his
" Famille Thaulow," exhibited at the Salon in 1896, and now in
the Luxembourg.
Since this his coloring and manner have grown warmer and
richer; his understanding more extended; and he has executed
in powerful harmony strong portraits of inanimate life. There
is something especially fascinating in the flexible art of Jacques-
Émile Blanche, and wherever his beautiful appealing canvases
go they carry with them the same sense of de.xtrous craftsmanship
and the same caressing charm. One and all they reveal a unity
which is rare in the art of their day. Every detail has been
properly subordinated to the general effect. The flash of jewels,
the sheen of silks, the liquid gleam of a mirror, or the mellow
glow of a bowl of fruit on the table, all is wooed into a subtle
harmony which seldom fails to captivate the most exacting
aesthetic taste. The painter's success in revealing the earnest
countenance of the modern intellectual, either French or Eng¬
lish, is only comparable to that delicacy with which he enshrines
dawning womanhood.
The Luxembourg possesses of this period the portrait of the
novelist, Paul Adam, executed in beautiful classic style.
Jacques-Émile Blanche was awarded silver medal, Munich,
1891; gold medal. Exposition Universelle, Paris, 1900; gold medal,
Munich, 1901, Grand Gold Medal, Venice; Knight of the Legion
d'Honneur, France, 1898. Member of the Société Nationale des
Beaux-Arts, Paris ; the Secession Society, Munich ; the Inter¬
national Society of Sculptors, Painters and Gravers, London ;
and the Société Nouvelle, Paris.
He is represented in the Luxembourg, Paris ; the Uffizi, Flo¬
rence ; the museums in Brussels, Frankfort, Munich, Venice, Buda¬
pest, Dublin, Lyons, Rouen, and in many private collections both
in Europe and America, including that of Mrs. Dodge in Florence.
20. Salome.
21. Sunflowers and Dahlias.
22. Blue Hydrangeas.
2.1. 'l ea Table and Japanese Lilies.
24. Portrait of Henry James, Esq.
2.). Portrait of Her Grace, the Duchess of Rutland.
26. Portrait of the Marquis of Granby.
27. Portrait of Mrs. Edwin Dodge.
Lent by Mrs. Edwin Dodge, Florence, Italy.
[ ]
JACQUES-ÉMILE BLANCHE
f 26 1
2S. Fragment of a Decorative Panel ; Group of Women.
Fragment of a Decorative Panel ; Group of Men (Maurice
Barrés, Henri de Regnier, and the Artist).
CARRIERE, EUGÈNE (1849-1905)
The death of Eugène Carrière, the painter of dreams, fading
lights and veiled harmony, has made a profound impression
which will never be effaced, not only upon the friends of the
man, but upon those who admire and love his art. Eugène
Carrière ; the name as well as the portrait suggest something
indefinable, a signification mysterious and eternal. With the
departure of the being who was so full of force and love, our
life misses an element which seemed to us to have been per¬
fectly indispensable. But this thought we have, also, that Carrière
is always among us. I speak to all who knew him and understood
him. Eugène Carrière was an interested member of the Société
Nouvelle.
Carrière was born not far from Paris, in the department of
Seine-et-Marne at the village of Gournay, January 27, 1849.
His real origin, however, was not French, as his father came from
French Flanders and his mother was Alsatian. He was brought
up at Strasbourg, but it was not there that he really received his
first inspirations for art in spite of the cathedral, the churches,
and the museum ; it was later in Saint-Quentin, where he lived
for nineteen years. There he entered the gallery where hung the
pastels of La Tour. He looked at them with longing eyes and
the great drawings of the human figure inspired in him the love
of construction, which afterwards appeared in his own portraits.
Carrière immediately began to draw and paint, then went to
Paris to follow the course of the École des Beaux-Arts. Then
came the war and Carrière was taken as a captive to Dresden
where he later amused himself by painting his comrades and in
studying the works of Rubens. Returning to Paris, he re-entered
the École des Beaux-Arts where he studied from 1872 to 1876.
He then became competitor for the Prix de Rome, but did not
win it, and it was at this time that he turned his attention to
the prizes of life. In the days that followed he studied and sym¬
pathized with humanity and in this way found his salvation.
It was thus that he became a painter of motherhood and of
childhood. You could search the world over and in the history
of art you would never find the sentiment of maternity and of
infancy in Carrière's works expressed as wonderfully and beauti¬
fully as by him. The pictures of Mother and Children of many
other painters seem arranged, but with Carrière the sentiment is
new, and this has created a personal art. The mother and chil¬
dren seem unconscious and the poses are natural. His portraits
[ 27 ]
EMILE CLAUS
[ 28 ]
of children of young boys, young girls, and older persons are
studies of the transformation of beings, and it is this spirit of
humanity that Carrière wishes to write on the history of painting.
He has even painted the death of Christ with a new note of
pathos.
In the Exposition Universelle, of 1.S89, be was decorated with
the Legion d'Honneur. In 1890, he was one of the first, with
Puvis de Chavannes and Rodin, to detach himself from the old
group of painters, and together they founded the Société Nation-
ale des Beaux-Arts; and there the same year he exhibited a can¬
vas called " Le Sommeil, " and the following year the three cele-
lirated portraits of Alphonse Daudet, Paul Verlaine, and Gustave
Geflfroy. In 1892, the " Maternité " was purchased by the Luxem¬
bourg Gallery in Paris and is now one of its greatest treasures.
The Lu.xembourg also owns " La Famille " and a wonderful
head by Carrière. In 1893, the portraits of Gabriel Seailles,
Madame Ménard-Dorian, and Charles Morrice were exhibited;
in 189.), a decoration for the Théâtre de Belleville; in 1896, the
lithograph portrait of Edmund de Goncourt, and in 1897, " Christ
on the Cross. " Twice Carrière's works were assembled and ex¬
hibited ; the first time in 1891 at Valadon, at which time Geffroy
presented them to the public with' â'mOst appealing preface.
The second time, in 1896, at the new Salon, where he explained
his own work ; this address has since become celebrated.
In December, 1904, a popular banquet was given to Carrière
in Paris, at which Rodin presided. There were six hundred
sculptors, painters, poets, and philosophers, and their wives.
This was a fête of love and enthusiasm from his confrères. Soon
afterward Carrière became ill and after suffering for over a year,
died on the evening of March 26, 190.">.
Carrière's creations were his real life; his tears, his enchant¬
ments were the bread of his genius. Because he had suffered
he pitied men, he gave them hope because he had loved. His
beautiful maternities are the symbols of his life. I see in him the
supreme man of whom the hesitation of men can demand the
law of the most essential humanity.
30. Portrait of Madame Eugène Carrière.
31. The Kiss.
32. Maternal Caress.
33. Self-Portrait.
34. Child with Collar.
3.). Child Smiling.
36. Head of a Little Girl.
[ 29 ]
CHARLES COTTET
[ 30 ]
37. Magny—Landscape.
38. Magny—Stormy Coast.
39. Head of Madame Carrière.
GLAUS, EMILE
Emile Clans was born at Vive-Saint-Eloi, Belgium, Septem¬
ber 27, 1849.
He was the sixteenth child, and his father, a modest grocer, was
much averse to the idea of allowing him to become an artist.
However, by the complicity of his mother and of Peter Benoit,
whom chance had led that way, he was allowed to enter the
Académie d'Anvers. Here he studied under Keyser. From
1874 to 1889 he painted subjects of episode and sentiment, such
as " Richesse et Pauvreté, " " Le Chemin des Ecoliers, " " Le
Bateau qui Passe," "La Veille de la Fête," and particularly a
" Combat des Coqs. "
He was awarded gold medal. Exposition Universelle, Paris,
1889 ; gold medal. Universelle. Paris. 1900 ; Chevalier de la
Legion d'Honneur; Officer of the Order of St. Michael of Ba¬
varia, and the Order of Leopold ; Knight of the Order of Orange-
Nassau. Member of the Société Nationale des Beaux-Arts, Pan's;
the Secession Society, Berlin ; and the Société Nouvelle, Paris.
Represented in the Luxembourg, Paris ; and the Museums of
Dresden, Berlin, Venice, Brussels, and Antwerp.
Of a profoundly observing and reasoning spirit, he distinguished
more clearly each day the evolution going on about him and the
unhappy route into which his success itself was involving him.
He had the courage to abandon the renown which he had
gained, and hesitated at no sacrifice in order the better to realize
that which to him was truth.
Following impressionism, but with absolute freedom, he de¬
picted the beautiful region of Lys ; that flower-covered country
with its great trees, painted houses, cows tethered in groups in the
meadows. From these scenes he draws his subjects for "Quand
fleurissent les lychnis" (1885), "La Crue de la Lys, Octobre"
(1888), "La Rentrée des Vaches" (1889), and many others.
Of this artist's work the Luxembourg possesses an exquisite
illuminated canvas which well bears the name " Rayon de Soleil. "
40. The Gray Cow.
COTTET, CHARLES
Charles Cottet was born at Puy, Haute-Loire, France, July 12,
1863. The early part of his life was passed at Fvian-les-Bains,
[ 31 ]
on the border of Lake Geneva. When at the age of seventeen he
went to Paris, it was to continue the studies begun in Switzer¬
land, and from this change of home may be dated the beginning
of his artistic career.
His parents placed no obstacle in his path, and he entered the
studio of Maillart, of whom he became the most attentive and
scrupulous pupil. He later left this studio for the Académie
Julian, where he studied under the direction of Boulanger and
Jules Lefebvre, after which, enthusiastic over the work of Puvis
de Chavannes, he received from him some instruction, and was
proud to declare himself his pupil. Cottet has generally worked
alone ; indefatigable, he has depicted many scenes and types.
He was awarded gold medal. Exposition Universelle, Paris,
1900; gold medal. International Exposition, Munich, 1905.
Represented in the Luxembourg, Paris, and in the Museums of
Lille, Venice, Trieste, Antwerp, Karlsruhe, Brussels, Bordeaux,
Helsingfors, St.-Etienne, Vienna, and Barcelona, and in the Cin¬
cinnati Museum Association, America.
He was created Chevalier de la Legion d'Honneur in 1900,
and exhibited at all the great international expositions, finding
in other lands the same success as in France. He is a member
of the Secessionist Societies of Berlin and Vienna, and of the
International Society of London, of which Rodin is president.
Also member of the Société des Peintres et Graveurs, the Orien¬
talists, the Peintres Lithographeurs, and the Société Nouvelle.
Cottet belongs to the group of artists and men of letters who
have made art the law of their lives.
During a stay in Brittany, Cottet so strongly felt the charm of
that country that he determined to linger there for some time.
The violence of the sea, the desolation of the wave-washed shore,
the character of the inhabitants and their picturesque costumes
as well, all interested and attracted him, so here he fixed his
abode and won.
The history of the misunderstanding which in 1888 divided the
Salon annually held in the Palais de l'Industrie is well known :
some of the artists, faithful to the venerable Société des Artistes
Français, stayed on the Champs-Elysées ; the others who grouped
themselves around the ideas of the Société Nationale des Beaux-
.\rts exhibited their works in the Champs-de-Mars. Meissonier,
who was at the head of the malcontents, gathered about him
Puvis de Chavannes, Cazin, Besnard, Rodin, Roll, and Carrière.
Cottet, who had only once exhibited at the Artistes Français, fol¬
lowed this movement, as much to prove his sympathj' with Puvis
de Chavannes and Roll as for his own personal satisfaction.
To the first exposition, he sent his earliest study of Brittany,
" L'Anse du Toulinguet," and at once an interest in this new¬
comer was shown.
In 1898 his triptych, " Le Repas des Adieux " appeared, and in
this we see the result of his six years of observation spent in
[ 32 i
Brittany ; here are expressed the whole scale of sentiments which
animate the life of its people. The picture was at once accorded
great admiration and the reputation of Cottet, clearly established,
grew from this time.
In 1899 appeared " Le Jour de la Saint-Jean," " La Messe
Basse en Bretagne," and "Les Feux de la Saint-Jean" followed.
During the last few years Spain and Portugal have called forth
the talent and observation of Charles Cottet : Avila, the Cathedral
of Salamanca, Burgos, and Toledo; the Tagus, its colored waves
charged with red earth flowing between high banks, has inspired
several canvases.
The nudes of Cottet are filled with realism and in his portraits
are found all the distinguished qualities of the artist.
In his studio in the Rue Cassini, he works constantly ; the days
of conflict are past ; the hours of work now sound, and with them
ever more and more success and glory.
41. Lamentation of the Women of Camaret on the burning of
their church.
42. Evening Service, Brittany.
4.1. Pardon of St. .\nn la Palud, Brittany.
Purchased for the Permanent Collection of the Buffalo Fine Arts
Academy, Albright Art Gallery.
44. Portrait of the Painter, Lucien Simon.
4.5. Young Girl with Amber Necklace.
46. Grief.
47. Procession in Plougastel Daoulac.
48. Old IMan and Old Woman from l'Ile de Sein.
49. Young Girl with INIuff.
50. Young Girl with Red Mantle.
51. Young Girl at her Toilet.
52. Apples and Book. (Still Life.)
53. Woman at her Toilet.
54. Apples and Sealing Wax. (Still Life.)
55. Stormy Sea.
56. Venice—Setting Sun.
[ 33 ]
ANDRÉ DAUCHEZ
[ 34 ]
57. Original Study for the Painting owned by the Luxembourg
Triptych—The Land of the Sea.
Center Panel : Repast of Leave Taking.
Left Panel : Those who Remain.
Right Panel : Those who Go.
58. Evening in Harbor.
5!). iMourning. Brittan}'.
Lent by Cincinnati Museum Association. Cincinnati
DAUCHEZ, ANDRE
André Dauchez was horn in Paris, 1870. He has made giant
strides in the last few years. His draftsmanship has taken on a
firmness and decisiveness quite remarkable, and no one is better
qualified than he to penetrate into the recesses of the melancholy
soul of the landscape of " La basse Bretagne." His decorative
panel " Prairies Bordées dWrhres " was one of the most imposing
works in this year's Salon ; and his painting of a cloudy sky, and
meadows by the banks of a river were also considered master¬
pieces.
^lemher of the Société Nationale des Bean.x-Arts, Société
Nouvelle de Peintres et Sculptuers ; Société des Pastellistes
Français, Société des Peintres-Graveurs, Paris, .\warded bronze
medal, Carnegie Institute, ; gold medal, Carnegie Institute,
1!)()0 ; silver medal. Exposition Universelle, Paris, 1900; second
gold medal. International Exposition, ^lunich, 1901. Repre¬
sented in the Luxembourg, Paris, and the Carnegie Institute,
Pittsburgh.
00. The Sea at Lisconil.
Lent by Oeorj^es Petit Galleries, Paris.
61. Gray Dune.
Lent by Georges Petit Galleries, Paris.
02. The Point of Lahuron.
Lent by Georges Petit Gallerie-:;. Paris.
09. The Bay of Comhrit.
DEJEAN, LOUIS (Sculptor)
Louis Dejean was born in Paris, in 1872. .A.fter having
studied for a short time under Charles Gautier and later at the
École des Arts-Décorafi's, he branched out for himself and has
confined himself almost entirely to the genre of the small, deli¬
cately-traced figure. He has been a medallist since his second
exhibition, in 1900. Almost entirely, his models have been
[ :i5 ]
HENRI DUHEM
[ :»i 1
Parisian types—the boulevardier, the street gamin, the profes¬
sional model, the actress of the café-chantant ; and the key¬
note of Dejean's art is its subtle tracery which endows with
flesh and blood the coquetry, the languor, the lurking charm of the
twentieth-century woman. Typical figures in the Dejean exhi¬
bitions have been his woman's torso of an outline delicate and
robust at once, a statuette of a nude young boy on which the
light plays caressingly, and many other of the exquisite little
figures which have begun to build up the reputation of this re¬
markable artist ceaselessly preoccupied with enlarging his scope
and attaining his style without sacrificing his quickness of im¬
pression.
G4. April. (Bronze.)
C5. The Woman and the Source. (Bronze.)
LA GANDARA, ANTONIO DE
Antonio de La Gandara is a portrait painter who has achieved
great popularity, and who is one of the most sought after and the
most remarkable among painters of contemporary womanhood.
He executes a portrait with the subtleness and penetration which
is characteristic of his work. Besides portraits, the artist pro¬
duces some charming drawings. Previously he has done some
little pictures of the Luxembourg gardens and the Pare de Saint-
Cloud.
Antonio de La Gandara exhibits a characteristic portrait of a
woman of highly-strung and nervous elements, and two of his
best productions in the art of landscape painting.
To his Spanish heredity La Gandara owes his skill in executing
the luxurious yet sombre effect of cloths and drapery—that
mastery most strongly exemplified by Valasquez.
66. Portrait of Miss D.
67. The Palace of Justice.
68. View from the Luxembourg.
DESPIAU, CHARLES ALBERT (Sculptor)
Charles Albert Despiau is a sculptor who has exhibited at the
Salons of 1904 and 1906, and is a man of great ability; his works
are fast becoming known all over the world.
69. Torso of a Bacchante. (Bronze.)
[ 37 ]
WALTER GAY
[ 38 ]
DUHEM, HENRI
Henri Duhem was a noted lawyer in the south of France, and
wrote a comprehensive book on French art. He was born at
Douai, in 1860, and lived there for many years. Duhem is a
painter of marvelous landscape effects with dim skies and pale
chalky shores, large moonlight scenes and an original and
intense series of provincial towns, market places, and scenes.
He renders the dream of peacefulness, the restfulness of grey
skies.
Henri Duhem has figured in all the great national exhibitions,
both French and foreign, for twenty-seven years.
He was awarded a medal. Exposition Universelle, Paris, 1900.
Membre-Sociétaire de la Société Nationale des Beaux-Arts,
Paris ; the Société Nouvelle, Paris ; Chevalier de la Legion
d'Honneur, Paris. Represented in the Luxembourg, Paris, and
the Petit Palais, Paris, and in the Museums of Buenos Ayres,
Argentina ; Arras, Lille, Lyons, Douai, etc.
70. The Flock passing the Road, at the rise of the Red Moon.
71. The Locks in Sunset.
GAY, WALTER
Walter Gay, one of the American members of the Société
Nouvelle, was born in Hingham, Mass., in 1856. He studied
in Paris under Bonnat. Awarded gold medals : Paris, 1888 ;
Vienna, 1893 ; Antwerp, 1894 ; Munich, 1894 ; Berlin, 1895 ;
Budapest, 1895. Officer of the Legion d'Honneur. Represented
in the Pinacothek, Munich ; Luxembourg, Paris ; Museum of
Fine Arts, Brussels ; Museum at Amiens ; Metropolitan Museum
of Art, New York; Museum of Fine Arts, Boston; Pennsylvania
Academy of the Fine Arts, Philadelphia; and Carnegie Institute,
Pittsburgh. He is a member of the Société Nationale des Beaux-
Arts ; Royal Society of Water Colors, Brussels; Société Nouvelle,
Paris ; American Institute of Arts and Letters ; Société des Amis
du Louvre, Paris.
With the charm of mastership and a lucidity which all admire,
Walter Gay paints his interiors; these are almost always of the
eighteenth century : sumptuous salons and agreeable apartments.
He rhakes " portraits of rooms " ; studies the physiognomy of
the marble-paved vestibule, representing in detail as well as taken
as a whole the character of a boudoir ; wresting from the faded
silk of a sofa gallant avowals, and from the " tabouret " its con¬
fidence. For grasping the e.xpression of a screen he has no equal,
and even from a cracked flagstone pavement he draws what is
almost a thought.
[ 39 ]
He has understood that inanimate objects, and above all those
which having lived much have retained that life, are endowed
with a little individual soul of which he tries to show the hidden
power. He has felt that a cracked wall of the past, a table of a
certain epoch, a footstool wearied by the fatigue of those long
since gone, those who complained of not having reposed enough,
had features like those of a face ; an expression which changed ac¬
cording to the hour and the time, and alas, without reason, for
nothing. And with a grace, patient as quick, he has noted in
them all the shades of solitude.
The interiors of Walter Gay, though so filled with the life of
those who have tenanted them, are always empty, and marvelous
is the tact by which are indicated the class and description of
the actors who lived in the midst of the noble decorations from
which it is a pity they are now absent.
These deserted rooms do not give the least impression of
abandonment ; people are near, they come and go. The dying
cinders on the hearth illumine the royal fleur-de-lis painted on
the ceiling ; a window is open, a curtain sways in the breeze ; a
shutter bars out the warmth of sunshine. Here is a breakfast
table on which the cloth still rests, and the creased napkins
bear marks of the fingers that have recently crumpled them.
In treating these details, the artist depicts ■ nothing sad or
morose; he stops on the threshold of melancholy—dreamer that
he is—attentive and tender. By the strength of his desire and
power of expression he tries to make us feel the light in these
beautiful dwellings. The light is in love with ancient things and
while giving to them they repay the gift a thousand fold. It
knows that these venerable objects, filled as they are with a life
that has fled, are of greatest value while they now claim only a
passing gayety.
Through the deep windows of an old château of France pours
the light, curious, touching everything. It glances at the cande¬
labra, greets with a kiss the clock, aims a sword thrust at the
glass of water, leaps to the floor, climbs the picture-covered wall,
but never does it overstep its bounds, for Walter Gay keeps
careful guard. You leave the canvases of this .sympathetic
master with regret, feeling the charm which he brings out in
everything he touches. Mr. Gay is represented in many museums
and notable collections. The Luxembourg is fortunate enough
to have won one of his best works and the Boston ^luseum has
just acquired an important example. Both are included in the
present exhibition.
72. Large Interior.
73. Venetian Interior.
74. Interior of Château of Petit Trianon, Versailles.
Purchased for the Permanent Collection of the Rhode Island School
of Design, Providence, R. I.
[ 40 ]
75. Château de Bréau.
Purchased for the Permanent Collection of the Buffalo Fine Arts
Academy, Albright Art Gallery.
7G. Small Interior: The Green Bed.
77. Interior.
Lent from the Luxembourg Gallery, Paris, through the courtesy of
Léonce Bénédite, Director, and the French Government.
LAGARE, EUGENE (Sculptor)
Eugène Lagare was born in Lodève, south of France, in 1870.
After his secondary school studies, he desired to take up art
as his profession, and entered Moreau's studio, where he studied
painting for several years. Being then attracted by sculpture, he
became a disciple of Rodin's, and today is considered by the
master as his most promising pupil. He is represented in this
country by several bronzes and plasters, the most important being
a fountain, " Aphrodite and the Sirens," executed for Mrs. Walter
Goodwin of Hartford and a bust in bronze of Walter S. Schutz,
Esq., also of Hartford. M. Lagare is an associate member of
the Société Nationale des Beaux-Arts and a member of its jury,
as well as a member of the Société Nouvelle. He has exhibited
some notable works in bronze and plaster, especially at the
Salon of 1906.
78. Biblis. (Wax.)
Lent by Professor René Cheruy, Hartford, Conn.
79. Bust of Walter S. Schutz. (Bronze.)
Lent by Walter S. Schutz, Esq., Hartford, Conn.
80. Sphinx giving way to the genius of Man. (Plaster.)
81. Head of a Young Girl. (Marble.)
LA TOUCHE, GASTON.
Gaston La Touche was born at Saint-Cloud in 1851. He is
self-taught. Awarded medals ; Salon Hors Concours ; Expo¬
sition Universelle, 1900; Grand-Prix, Venice; Barcelona; Munich;
and the Carnegie Institute, Pittsburgh. Officer of the Legion
d'Honneur, Represented in the collections of the Luxembourg,
Brighton, Venice, Rouen, Brussels, Vienna; and his works are
owned in numerous private collections abroad and some in
America. Hugo Reisinger, Esq., owns some of the best examples
of La Touche's works, also Victor Harris, Esq., both of New
York.
Two important examples are owned in Buffalo; one by Mrs.
Porter Norton and the other by Mrs. Spencer Kellogg. Both
are here exhibited. La Touche is President of the Société Inter¬
nationale des Peintres à l'eau; member of the-Franco-American
Institute; member of the Delegation of the Société Nationale
des Beau.x-Arts ; and a member of the Imperial Consul des
f H 1
GASTON LA TOUCHE
[ 42 ]
Beaux-Arts ; Société des Aquarellistes Hollandais ; Société Royale
des Artistes Belges, and the Société Nouvelle of Paris.
Gaston La Touche's ancestors came from Normandy. Here
above all other places still lingers the influence which Marie
.\ntoinette had exerted during her lifetime—the love of sylvan
scenes, fêtes on velvety lawns shaded by graceful trees, dances
in the open air, suppers, fountains, tiny lakes and streams in
which are mirrored swans or on which floats a lazy boat.
Thus the boy grew up surrounded by a mental as well as a
visual eighteenth century atmosphere. The books in which he
delighted were those of that period, and when at the early age of
ten he began to paint, his pictures naturally embodied the spirit
of his musing. This influence, so early felt, has colored all of
his later works, the grace, elegance, and daintiness of the court
of Louis XVI constantly speaking to us from his canvases.
In spite of La Touche's talent and love for painting his parents
were opposed to his becoming an artist and endeavored first to
make a student of him, failing in which they plunged him into a
life of commerce ; then the lad rebelled and insisted upon fol¬
lowing his chosen profession. Self-taught at first, he worked
frantical'y and in IHT.j made his debut at the Salon as a sculptor,
exhibiting a medallion.
Then, through his friendship with Nanot, Degas, and Zola, he
became a member of the naturalist school and later an idealist
Today he is considered one of the finest of the true colorists.
In the year 1800 he joined the Secessionists, led by Meissonier
and Puvis de Chavannes, and exhibited at the new Salon of the
Société Nationale des Beaux-.\rts.
In our admiration of his work we do not separate his decora¬
tive panels from his paintings, of which a list would be too long
for this sketch. In his studio at Saint-Cloud, the artist labors
incessantly, even during his walks, and while traveling he makes
little sketches which furnish him valuable material ; in these he
is as much poet as painter.
82. Landscape—River Bank.
SO. Vision -Antique. (Exhibited in Salon, 1011, under title of
" Innocence.")
84. The Betrothed.
85. The Visit of the Princess Royale.
86. Landscape.
Lent by Victor Harris, Esq., New York.
ST. A Pardon in Brittany.
Lent by Victor Harris, Esq., New York.
[ 43 ]
HEN'RI EUGÈNE LE SIDANER
[ 44 ]
89. Saint Marks, Venice.
Lent by Mrs. Porter Norton, Buffalo.
90. Summer Day.
Lent by Messrs, Knoedler & Co., New York.
91. The Red Coach.
Lent by Messrs. Knoedler & Co., New York.
LE SIDANER, HENRI EUGENE.
Henri Eugène Le Sidaner was born at Port Louis, Mauritius,
in 1802. He comes from a Breton family.
Member of the Société Nationale des Beaux-Arts, Paris; the
International Society of Sculptors, Painters, and Gravers, Lon¬
don; and of the Société Nouvelle, Paris. Represented in the
Luxembourg, the Petit Palais des Beaux-Arts, Paris ; and in the
private collections of John W. Beatty, Esq., Pittsburgh; Edward
Drummond Libby, Esq., Toledo, and Mrs. W. R. Taylor, Roch¬
ester, N. Y. .\warded medal of the third class, Paris, 1891 ;
bronze medal. Exposition Universelle, Paris, 1900 ; honorable
mention, Carnegie Institute, 1901; medal of the second class,
Carnegie In.stitute, Pittsburgh, 1906.
92. Bee-hives.
Lent by Georges Petit Galleries, Paris.
9:i. Sunlight on a Red Temple.
Lent by Georges Petit Galleries, Paris.
91. The Faubourg.
Lent by Georges Petit Galleries, Paris.
MARTIN, HENRI
.'\t the opening of the Salon of 1883, three pictures attracted
much attention. " .\ndromaque." by Georges Rochegresse ; " Saint
Julien l'Hospitalier." by Aman-Jean; and " Francesca da
Rimini," by Henri Martin, a young artist, until this time prac¬
tically unknown. He was horn at Toulouse, France, August 5,
1860, and studied under Jean-Paul Laurens; this much only
was known of him. How suddenly he made the place for him¬
self which he has since filled with such distinction I When quite
young he showed rare artistic gifts, but as his family desired him
to become a merchant, he devoted-himself for six months to com¬
merce. At the end of that time, however, his family, under¬
standing that his vocation was irresistible, decided to consent to
his wishes. He then entered the École des Beaux-Arts at Tou¬
louse; at the age of nineteen he obtained the Grand-Prix and
with the income which this brought him, went to Paris and
entered the studio of Jean-Paul Laurens. In 1880. he exhibited
at the Salon des Artistes Français a picture called "Le Dèses-
poire," and in 1883 his "Francesca da Rimini" followed. This
was received with acclamation from the artists, given first class,
and was bought by the state. At this time, he had now shown
[ 45 1
HENRI MARTIN
[ 46 ]
the vigorous originality with which his later work made us
familiar. In 1S64, however, with his "Cain," he gave voice to
the spirit of seer and poet. He went to Italy, visited with enthu¬
siasm her churches and museums, revelled in her wealth of
color. He centered his admiration on the works of Giotto.
The poetry of these frescoes, the life which animates them,
troubled profoundly the soul of the young painter of twenty-five,
who had thus new horizons opened to him. From this time
Henri Martin shows in his works more of contemplation than
observation and he began following his desire to interpret the
poets. Dante inspired him with the subject "Chant XXXIH de
l'Enfer."
From this time he had but to follow the route which he had
traced for himself, and which was opened before him, filled with
sunshine and security. .\t the age of twenty-eight he had won
a success which his elders might well have envied. In 1889 he
exhibited "La Fête de la Fédération," a large canvas which
excited much discussion, upsetting, as it did, the long-established
rules of generations of artists. The same year he won the medal
for his great picture of "Paolo et Francesca," now hung in the
IMusée de Carcassonne. He is noted for his "L' Inspiration"
in the Luxembourg. He is a symbolist.
During 1896, an exhibition of his works shown at the Galerie
Mancini won for him the esteem of the public at large, and in the
following year many other important works appeared. In 1899.
his " Sérénité " drew from Puvis de Chavannes a cry of delight.
"Here is one," he exclaimed, "who will continue my work!"
His works are those of which one often thinks : harmonious
and luminous landmarks on the route of art.
He is a member of the Société des Aristes Français ; of the
Société Nationale des Beaux-.'krts ; and of the great Société Nou¬
velle, Paris. Represented in the Luxembourg, Paris ; Museum
of Painting and Sculpture, Bordeaux; Museum of Amiens;
Lyons; Museum of Fine .\rts, Toulouse, Marseilles, Carcassone,
Ghent, Nantes, and Buenos Ayres. Awarded medal of the first
class. Salon, Paris, 1883; gold medal. Exposition Universelle,
Paris, 1889; Grand Prize, Exposition Universelle, Paris, 1909;
Officer of the Legion d'Honneur, France, 1893; Hors Concours,
Société des .Artistes Français.
96. Village in Spring.
97. The Pergola.
98. An Old House.
99. Under the Trees.
MENARD, EMILE-RENE'.
Émile-René Ménard was born in Paris in 1862, in a cultivated
and literary circle. He is himself a spirit of great culture.
Under the influence of his father and his uncle, the philosopher.
[ 47 ]
ÉMILE REXÉ MÉNARD
[ 48 ]
Louis Ménard, his intelligence could not fail to open itself to all
forms of beauty, whether of reality or dream.
He studied both at the Ecole des Beaux-Arts and Académie
Julian. His first Salon date is 1883 ; he hesitated some time in
his choice of modern or antique subjects, visibly influenced, like
all his comrades, by the naturalistic movement of the time.
Toward 1890, he found the path in which he now each day
walks with more assured step, that of portraiture and of syn¬
thetic visions of landscape peopled with epic groups of beautiful
nude women bathing in quiet waters. He says, " It was in
Barbizon and Normandy that I began to paint landscapes, later,
I was in Brittany, worked in France, in Corsica and in Greece,
and I have also traveled in Algeria and in Syria."
A journey in Sicily accentuated his first connection with an¬
tiquity and furnished him with the subjects of his beautiful
pictures, "Historiques d'Agrigentz (1890)" and "Terre Antique"
(1901).
Since 1900, René Ménard has been Chevalier de la Legion
d'Honneur, Officer of the Legion d'Honneur, 1910,
He was awarded medal of the third class. Salon, Paris, 1898;
gold medal. Exposition Universelle, Paris, 1900, Member of the
Société Nationale des Beaux-Arts, Paris ; the Société Nouvelle,
Paris; and the Société des Pastellistes Français, Represented
in the Luxembourg, and in the Musée de la Ville, Paris ; Museum
of Fine Arts, Toulouse, France; Museum of Stockholm; Carnegie
Institute, Pittsburgh, and in Munich, Brussels, Budapest, Venice,
Rome, Buenos Ayres, Ghent, Algeria, Lyons, Nantes, and in
many private collections all over the world.
The pictures of Émile-René Ménard are always a source of
pure joy for the spectator; the least of his paintings impels our
admiration by the beauty of its conception, the nobility of its
sentiment, and the great charm of its color. His pictures must
be accounted veritable masterpieces,
100. Hylas.
101. Bucolique.
102. Sunset on the Corsican Coast.
103. Setting Sun.
Lent by Georges Petit Galleries, Paris.
104. The Coast of Normandy,
Lent by Georges Petit Galleries, Paris.
105. Twilight,
Lent by Victor Harris, Esq., New York.
lOf), The Rainbow.
Lent by Victor Harris, Esq., New York.
107. Sea and Cloud.
Lent by Victor Harris, Esq., New York.
[ 49 ]
JAMES WILSON MORRICE
.One of the founders of The Canadian Art Club
[ 50 ]
108. The Swamp.
Lent by William H. Sage. Esq., Albany.
109. The Judgment of Paris.
Lent by Carnegie Institute, Pittsburgh.
MORRICE, JAMES WILSON
Jame.s Wilson Morrice was born at Montreal, Canada. He i<
a Canadian artist who went not long ago to settle in Paris. He
is not an original member of the Société Nouvelle, but this new
recruit is one of the most interesting and characteristic painters
of the group, and his works immediately attract attention by
reason of their striking coloring and beauty of technique.
He is represented in the Luxembourg, Paris ; Pennsylvania
Academy of the Fine Arts, Philadelphia; Palace of Arts, Lyons,
France; and in the private collections of D. R. Wilkie, Esq..
Toronto, and many private collections in Montreal. Member of
the Société Nationale des Beaux-Arts, and Salon d'Automne.
Paris ; International Society of Sculptors, Painters, and Gravers,
London ; and the Société Nouvelle, Paris.
James Wilson Morrice is unquestionably the Canadian painter
who has achieved in France and at Paris (where he participates
regularly in all the important exhibitions) a most notable and
well-merited place in the world of art. If he has arrived at this
high position, it is certainly not because of any means outside of
his art—severe, charming, and truthful. Mr. Morrice has never
concerned himself with flattering the tastes of the public, the
fashion of the hour, or bourgeois prejudice. From him we have
never seen those sensational effigies, brilliant and hollow, of
which in Paris, as in all other places, ephemeral reputations are
made; nor has he thrust himself into view with immense anec¬
dotal compositions, before which assemble the mob, more sensi¬
tive to the pathetic or picturesque subject than to the veritable
language of painting as expressed in form, color, light, and value.
What above all else characterizes the work of Mr. Morrice is his
freedom. Like the true masters, he began twenty years aeo
with pictures that were somewhat tight in manner, rather stiffly
drawn, almost minute, producing the object copied with respectful
and timid fidelity. Then,"as he became conscious of his powers,
he eliminated the useless to express only the essential. The care¬
fully realistic analysis of his first works gave place to a syn¬
thesis. broad, rhythmic, and always well considered, which of
late years is the only sense of beauty which has guided him.
110. The Place Château Brigand.
Lent by the Mount Royal Club, Montreal.
111. St. Georgio, Venice.
Lent by James Reid Wilson, Esq., Montreal.
[ 51 ]
JEAN'NE PCUFELET
[ 52 ]
112. Clarenton.
Lent by Arthur Morrice, Esq.. Montreal.
li:i. The Ramparts, St. Malo.
Lent by David Morrice, Esq., Montreal.
114. On the Grand Canal, \'enice.
Lent by Mrs. Newton MacTavish, Toronto.
11.'). On the Beach.
Lent by Daniel R. Wilkie, Esq., Toronto.
116. The Circus.
117. Snow Scene, Canada.
118. Canadian Village.
TOUPELET, MADEMOISELLE JEANNE (Sculptor)
^lademoiselle Jeanne Poupelet was born at Bordeaux, France.
She was awarded bronze medal. Exposition Universelle, Paris,
1900; Bourse de Voyage from the Government in 1904; Secre¬
tary of the Société Nationale des Beaux-Arts, Secretary of the
Salon d'Automne, and member of the Société Nouvelle, Paris.
119. Duck. (Bronze.)
120. Rabbit. (Bronze.)
PRINET, RENÉ-XAVIER
René-Xavier Prinet paints with sentiment and also proves that
he can be at times an excellent plein-air artist. He is one of the
very important members of this group.
A faint, vague perfume of the past pervades the work of this
clever painter of incident who infuses into his realism a certain
tender grace reminiscent of poetry and romance.
He was awarded honorable mention. Société des Artistes
Français, 1888; gold medal, Exposition Universelle, Paris, 1900;
Knight of the Legion d'Honneur, France. 1900; Associate Mem¬
ber of the Société Nationale des Beaux-Arts, and of the Society
of Painters and Sculptors, Paris. Represented in the Luxem¬
bourg, Paris; Museum of Gothenburg; Museum of Nancy; Mu¬
seum of Bordeaux; Museum of Helsingfors; Museum of Vesoul;
Museum of Gray; iMuseum of Brussels; collection of Prince
Leopold of Bavaria.
121. The Amazons. ,
122. The Ferryman.
123. Woman in Brown.
RAFFAÈLLI, JEAN-FRANCOIS.
Jean-François Rafïaëlli was born in Paris, April 20, 1850.
While still young his father lost his fortune and the lad was
[ 5.3 ]
JEA\-FRAXCOIS RAFFAËLLI
[ 54 ]
obliged to choose a means of earning a livelihood which would
at the same time yield him sufficient leisure in which to follow
his chosen career, that of painting.
For this he felt that he had an irresistible vocation.
Beginning at the age of fourteen he tried various occupations,
sang in churches or at the theater; gave lessons while all the
time gaining for himself a general education and devoting every
spare moment to painting.
He studied for a time in the atelier of Gerome, but his natural
independence rebelled at the restrictions here imposed.
Married while still young, he traveled with his wife in Italy,
Spain, and Algeria. Upon their return they settled in the suburbs
of Paris, and here his penetrating vision discovered a world new
to art.
At this time affiliated with the impressionists, he participated in
some of their earliest expositions. But soon he separated from
them, the better to follow out the path which he has since fash¬
ioned for himself.
In 1884, he organized an exhibition of his works ; in the pre¬
face of the catalogue prepared for this he wrote : "The art of
the past has said all that there is to say of purely plastic beauty ;
the duty of the modern painter is to search for characteristics,
that is to say, character."
The catalogue divided its subjects into groups, portraits of
various types of the lower classes, ragmen, drinkers of absinthe,
robbers, etc.
"Les Forgerons Buvant," exhibited at the Exposition Conten-
nal de l'Art Français in 1890, is a picture of this class.
But while feeling intensely and depicting what is to him the
poetry of the humble and miserable, he has in so doing in no way
lost his sense of beauty and of the most delicate harmonies.
In 1900 he was made Officer de la Legion d'Honneur.
He was awarded honorable mention. Salon, Paris, 1885 ; gold
medal. Exposition Universelle, Paris, 1889; medal of the second
class, Carnegie Institute, 1896 ; gold medal. Exposition Univer¬
selle, Paris, 1900. Member of the Société Nationale des Beaux-
Arts and of the Société des Artistes Français, Paris; Secession
Society, Vienna ; Secession Society, Berlin ; and the Société
Nouvelle, Paris. Represented in the Luxembourg, Paris ; the
Metropolitan Museum of Art, New York; the Pennsylvania
Academy of the Fine Arts, Philadelphia ; Carnegie Institute,
Pittsburgh; Museum of Fine Arts, Nancy, France; Museum of
the Hotel de Ville, Paris ; National Museum, Stockholm ; Museum
of Art, Christiania ; and in the private collections of Roland
Knoedler, Esq., Georges Durand-Ruel, Esq., New York, and Mrs.
W. S. Kimball, Rochester, New York.
124. Les Champs Elysées, Paris.
r ■'î.". 1
125. Les Champs Elysées.
Lent by Messrs. Knoedler & Co., New York.
120. Landscape.
Lent by Durand-Ruel & Son, New York-
RODIN, AUGUSTE (Sculptor)
Auguste Rodin was boni in Paris, November 14, 1840, in a
family of the poorer working classes. At the age of fourteen he
entered a small school of art in the École de Médicine, and in
addition drew and studied in the Louvre, and at the Gobelin in
the evening. He also entered a class at Barye's in the Jardin
des Plantes. "Barye," he says, "did not teach us much, he
was always tired and worried when he came and always told us
something good." Because it was necessary to earn a living,
Rodin worked for a maker of ornaments during this period of
desperate industry. In 1864, he became a pupil and assistant of
Carrière-Velleuse and remained with him si.x years, during which
time he sent the magnificent head known as " The Man with a
Broken Nose " to the Salon of 1864. It was refused. He also
applied thrice for admission to the École des Beaux-Arts and was
thrice refused.
In 1879, Rodin removed to Brussels, where he remained for
seven years, working under Van Rasbourg, the Belgian sculptor.
During this time he gained a thorough knowledge of the Flemish
Primitives, and the Gothic masters which, with the art of the
best Greek Periods, and Michael Angelo, so greatly influenced
his work. " In Brussels," he says, " I learned how to wait. It is
the great secret." These seven years formed a sort of spiritual
retreat which enabled him to find himself intellectually, and to
live quietly and decently in peaceful surroundings. No work of
his own is known through all this astonishing apprenticeship of
twenty years, with the single exception of " The Man with a
Broken Nose." This was finally accepted by the Salon of 1876.
Rodin then returned to Paris and in 1877 sent to the Salon of that
year the nude figure of a young man entitled " The Age of
Brass." It was accepted, but the jury, astonished and perplexed
by the wonderful accuracy of the modeling in the work of an
"unknown," accused the sculptor of having cast his statue from
the mold of a living figure. Rodin protested indignantly, aided
by three sculptors, Desbois, Fagel, and Leferre ; critics took up
the question, which was virtually settled by the purchase of
" The Age of Bronze " for the Luxembourg, where it now
stands.
In 1880, with " St. John the Baptist " (also in the Luxem¬
bourg), Rodin emerged finally and definitely from obscurity, and
became the Rodin of today, whose dominance in the world of art
can only be likened to that of Michael Angelo some few cen¬
turies before.
[ 56 ]
Short, thickset, slow, modest, silent, wholly absorbed in his
art, he is seldom to be met, passing his time between his home
at Meudon and his studio in the Rue de l'Université ; nor have
occasional trips to London, Prague, Germany, and Italy, inter¬
fered with his busy seclusion, from out of which (we quote a
recent French article) he sends exhibits to the Salon, which
rival the most beautiful fragments af antiquity, nor of late years
has France refused him her entire sympathy and support, with
the disconcerting exception of the Balzac of 1897. In 1900, his
entire works were collected under a separate pavilion, at the
exhibition of the Bond-point de I'Alma, and his position was at
once reaffirmed and explained by this truly noble and astonishing
exhibit. He is further a high dignitary of the Legion d'Honneur.
President des Juges of the Société Nationale and successor to
Whistler as President of the International Society of Artists,—
this last one of the highest tributes to genius it lies in the power
of his brother artists to bestow, being, as it is, an honor arbitrary
of artists alone and unconnected with any official or civic posi¬
tion.
He is surrounded by the warm and sympathetic devotion of
many of the younger artists, some of whom are his pupils, dis¬
tinguished artists themselves. Further, no personality of our
time has more occupied the best literary minds of the day, and of
late, in consequence, no man has been more written about. This
has sometimes been used as a term of reproach, Rodin being
styled too literary ; but he explains smilingly : "I do not admit
that thought should be excluded from art, providing it is clothed
in a workman-like plastique" (une belle plastique). "First,
let them accuse me of badly modeled arms and legs and then
>)
.\nd it is this combination of superb and touching idealism
(to which in his modesty and, perhaps, suspicion, he lays no
claim), and is his supreme, dominant, unchecked, unquestioning
realism (in which he glories) that Rodin stands unrivaled. " I
am under orders to Nature," he says. " Nature, it is all there.
The artist has only to concern himself with sang."
A magnificent series of drawings, yearly becoming more
famous, peculiarly reveals us to Rodin, the thinker and student at
work for, one had almost written with, himself. They bid fair
to take a place in art approximate to that of the etchings of
Rembrandt, as compared to the bulk of the work of the great
Dutchman, though admittedly more curious, and more intimate.
They are above all concerned with the movement of the living
model in action, which explains their over-lacking outlines.
Drawn with great haste, the hand has often followed the chang¬
ing outline actually in flight.
127. Danafde. (Marble.)
Lent by Cottier & Co., New York.
[ 57 ]
LUCIEN SIMON
[ •'5« 1
128. The Sphinx. (Marble.)
Lent by Mrs. Eugène Meyer, New York.
129. The Kiss. (Bronze.)
Lent by Mrs. Eugène Meyer.
130. Bust of Mirabeau. (Bronze.)
131. Bust of Dalon. (Bronze.)
132. The Hand of Man. (Bronze.)
Above three bronzes personally sent by Monsieur Rodin to the
present exhibition.
13:1-138. Si.x drawings.
Lent by Mrs. Eugène Meyer.
139. Colored Drawing.
Lent by Mrs. Porter Norton, Buffalo.
SIMON, LUCIEN
Lucien Simon was born in Paris, July 18, 1861. His family
belonged to the refined and well-to-do bourgeoise from which
have sprung so many artists and men of literary renown.
The house in the Rue Cassette in which he lived was encircled
by gardens ; the only sounds to be heard were those of clocks, to
which during the spring-time were joined the cries of the swal¬
lows. In this quiet environment his infancy was passed.
When he was old enough to receive instruction he went first
to school and later to the Lycée Louis-le-Grand.
During his school career his tastes led him quite as much
toward a literary as an artistic life, and he thought seriously of
following the scientific career of his brother Eugène Simon,
who had already made a name for himself as a naturalist. How¬
ever, he had at this time the misfortune to lose his father, and
being allowed by his mother freedom in his choice of a career,
decided to devote himself to painting. Already Jules Didier had
given him some lessons ; and now he enrolled himself as a pupil
at the Académie Julian. Not long, however, did he continue
there, for, making the acquaintance of René Ménard and other
brother artists, he invited them to meet weekly at his house, and
not they only but poets, musicians, and dramatic authors here
gave voice, each to his peculiar talent.
At this time, the realistic influence of Zola and Maupassant
was at its height, and made itself strongly felt among those who
gathered at the home of Lucien Simon. The artist at this time
painted " L'Homme qui court après la Fortune " and several
other important works. In 1890, he married the sister of André
Dauchez ; his young wife appreciated art in all its phases, and
made the former studio of her husband a home as well as a work-
[ 59 ]
shop and gathering place of beautiful objects. Here she brought
her seven brothers and sisters and these Simon painted as well as
educated and cherished. Then a baby came, and Simon e.x-
pressed his paternal emotion in the picture " Les Miens."
He took his family to pass the summer in Brittany, and these
months mark a new epoch in his career ; Brittany was revealed
to him, and this revelation he imparts to us in his pictures ; from
now on the history of Lucien Simon becomes that of his works.
In 1893, he left the Salon des Artistes Français for the Société
Nationale des Beaux-Arts; here his talent felt more at ease and
to the semi-success which his previous work had met succeeded a
constantly growing favor.
In 1900, he received a gold medal and the cross of the Legion
d'Honneur; but the brevity of this study forbids a list of all his
works and the honors received. Several years ago he took an
enviable place in the Société Nouvelle which, at first under the
presidency of Gabuil Monrey and later of Auguste Rodin, exhibits
at the Georges Petit Galleries. Here are found some of the most
characteristic painters of our time. Simon has also exhibited
at the International Society in London and the Secessionist So¬
cieties at Berlin, Munich, and Vienna.
At forty-eight years of age his work has gained for him the
right to rest; but he feels he has still much to say and his labor
has never been more incessant. He is above all a painter of the
family and of Brittany, though he often represents Parisian
scenes and the life of a crowd. This variety, with enthusiasm,
unite to make Lucien Simon one of the most living artists of our
time.
140. Comedy.
141. Summer Day.
Lent from the Luxembourg Gallery. Paris, through the courtesy of
Léonce Bénédite. Director, and the French Government.
142. Breton Inn.
Lent by Hamilton Easter Field, Esq., Brooklyn, N. Y.
143. A Head.
Lent by John W. Alexander, President of the National Academy
of Design, New York.
TROUBETZKOY, PAUL (Sculptor)
Paul Troubetzkoy, the creator of the spirited and graphic phase
of modern sculpture, was born February 16, 1866, at Intra, Lago
Maggiore. The second son of Prince Pierre and Princess Ada
Troubetzkoy, née Winans, his childhood and youth were passed
amid the picturesque surroundings of his birthplace, where
nature and art seem to have achieved their own indissoluble unity
[ 60 ]
of form and color. The boy's artistic instincts manifested them¬
selves at the conspicuously early age of six, that which first
aroused his interest in such matters being the visit to the family
home of a well-known Italian portraitist, who was engaged in
painting likenesses of his parents. Although he was fond of
drawing, it was sculpture that attracted him most.
He studied for a time under Barcaglia, but being essentially
restless and independent of temperament, left after a few days
and joined the classes of Ernesto Bazzaro at the Brera.
His first important appearance was in 1886, at the Palazzo di
Brera, when he exhibited the figure of a horse, which despite its
freedom of execution, was well received, but it was not until
1894, when his "Indian Scout" was seen in Rome, that he
achieved what may be called substantial public recognition.
Flattering as has been his reception at Venice and Rome, it was
nevertheless far eclipsed by the recognition accorded his art the
following year on the occasion of the Exposition of 1900. Rep¬
resented in both the Italian and Russian sections. Prince Trou-
lietzkoy's triumph at Paris was second to that of no other single
individual. In the former group he easily held his own beside
his colleagues, Trentacoste and Romanelli, and though in the
Russian section his work was exhibited along with that of such
acknowledged masters as Antokolsky, Ginsburg, and Bernstamm,
it was he who carried off the Grand Prix. The eloquent bust of
the lately deceased painter Giovanni Segantini was the most
important of his three contributions to the art of the country of
his birth.
Prince Troubetzkoy has been a Chevalier de la Legion d'Hon¬
neur since 1900, has won gold medals in Rome, Dresden, Berlin,
and elsewhere, and figures in the permanent galleries of such
cities as Rome, Leipsic, Berlin, Milan. Dresden, Moscow, St.
Petersburg, Paris, San Francisco, and Buffalo. He is further¬
more a member of the Société Nationale des Beaux-Arts, the
Société Nouvelle, the Société du Salon d'Automne in Paris, the
Dresden and Munich Secession Societies and the International
Society of Sculptors, Painters, and Gravers, in London. He ex¬
hibited at the Paris Exposition of 1900, the Autumn Salons of
1904 and 1909, and in Venice the same year.
In order to complete the chronology of Prince Troubetzkoy's
productions it only remains to recall his appearance at the
World's Columbian Exposition at Chicago, in 1893, where he was
represented by his sketches for the Dante and Garibaldi monu¬
ment.-, by two versions of his " Indian Scout," and five additional
pieces, some of which were later purchased for the Golden Gate
.\rt Museum of San Francisco,
Considering his position and reputation in Paris, it would have
been singular had the art of Prince Troubetzkoy remained un¬
known to those Americans who habitually frequent the French
r 01 1
capital, and it is thus a pleasure to note that among those from
this side of the water who have already sat to him for their
portraits are Mrs. Vanderbilt and her daughters ; Mr. W. K.
Vanderbilt, and Mrs. Harry Payne Whitney. In addition to
these, he had previously found in his own family two American
women who naturally proved sympathetic subjects—his mother,
of whom he has executed a delicate and penetrating seated like¬
ness, and his sister-in-law, Princess Amelie Troubetzkoy, née
Reeves, wife of the portrait-painter who has, for the last few
years, made his home in New York.
144. Portrait of Baroness Rothschild. (Bronze.)
14.1. Portrait of Monsieur Errazuriz and his Daughter.
(Plaster.)
146. Portrait Statuette of Gabriel d'Annunzio. (Bronze.)
147. Portrait Statuette of Auguste Rodin. (Plaster.)
148. Portrait Statuette of ^Monsieur Nelidow. (Plaster.)
149. Young Woman Seated with Dog. (Bronze.)
150. Indian on Horseback. (Bronze.)
1.51. Cowboy on Horseback. (Bronze.)
152. Indian at the Side of his Horse. (Bronze.)
152. Indian Standing. (Bronze.)
ULMANN, RAOUL-ANDRÉ.
Raoul-André Ulmann was born in Paris, 1867. Studied in
Paris. Represented in the collections of the Musée de Luxem¬
bourg ; Musée de Bayonne ; Musée de Saint-Étienne ; Memorial
Hall, Philadelphia ; Pennsylvania Academy of the Fine Arts,
Philadelphia ; Musée de Carnavalet. Member of the Société
Nationale des Beaux-Arts, and the Société Nouvelle, Paris.
154. Evening on the Zaam.
Lent by Georges Petit Galleries, Paris.
155. The Quai.
Lent by Georges Petit Galleries, Paris.
156. Foggy Morning.
Lent by Georges Petit Galleries, Paris.
[ 62 ]
NON-MEMBERS OF THE SOCIETE' NOUVELLE
BOURDELLE, EMILE (Sculptor)
Émile Bourdelle was born at Montauban in 1861. Studied first
at Toulouse, then under Rodin. Represented in the Berlin
Museum.
157. Head of Beethoven.
DESVALLIERES, GEORGE.
George Desvallières was born in 1861 at Paris and studied
under Delaunay and Moreau. His first exhibition at the Salon
was as early as 1883, and 1894 he won a second medal by two
portraits of women.
He is represented at Nimes, Bordeaux, and by several pictures
in the Luxembourg.
Desvallières' work is simple in conception and execution, and
pleases by its directness and sureness of touch. His picture of
" Rqlla," for example, fits his tormented and melancholy imagina¬
tion, and also his group of " Christ and Magdalene," with its
desolate rusty color, its falling lines, its gestures of refuge, pro¬
tection, and pity, has much of pathos and grandeur ; but neither
are so well done as his tranquil and melancholy portrait of a
woman in purple and gray, sober in execution and admirable in
analysis, wbich he showed in 1905, at the Pastellists' exhibition.
In fact, with all his varied work, as studies in expression and
ensemble, the artist has certainly succeeded in giving the desired
effect.
158. Girl in Black.
159. Corner of an Antichamber.
160. Nudes.
161. The Seamstress.
Lent by Hamilton Field, Esq. Brooklyn. N. Y.
FIX-MASSEAU (Sculptor)
(No Biographical data at hand)
162. Head of Beethoven.
Lent by Victor Harris, Esq., New York.
[ 63 ]
LEPERE, LOUIS-AUGUSTE
Born in Paris, 1S49.
163. Solitude.
Lent from the Luxembourg Gallery, Paris, through the courtesy of
Léonce Bénédite, Director, and the French Government.
Notes: 1. The works of the above two sculptors have been included through
the kindness of Victor Harris, Esq., New York.
2. The works of Messieurs Desvallières and Lepère are sent through
the kindness of Léonce Bénédite, Director of the Luxembourg.
[ 64 ]
DANAÏDE (MARBLE); AUGUSTE RODIN
(Lent by Cottier & Co., New York.)
AT THE WINDOW: JOHN W. ALEXANDER
[ 66 ]
CHILD SMILING; EUGENE CARRIERE
[ 67 ]
THE SPHINX (MARBLE) AUGUSTE RODIN
(Lent by Mrs/Eugene Meyer, New York)
[ 68 ]
[ 69 ]
SALOME: JACQUES-EMILE BLANCHE
1 î» ]
PORTRAIT OP EX-SENATOR WILLIAM A. CLARK: ALBERT BESNARD
(Lent by WilUam A. Clark, Esq.)
[ 71 ]
THE JUDGMENT OF PARIS: EMILE-RENÉ MÉNARD
(Lent by the Carnegie Institute, Pittsburgh)
HYLAS: EMILE-RENÉ MÉKARD
THE ARRIVAL OF THE PRINCESS ROYAL: GASTON LA TOUCHE
HEAD OF A YOUNG GIRL (MARBLE): EUGENE LAGARE
[ ]
LES CHAMPS ELYSEES, PARIS; JEAN-FRANCOIS RAFFÀÉLLI
PORTRAIT OF MISS D.; ANTONIO DE LA GANDARA
[ 77 ]
PORTRAIT STATUETTE OP GABRIEL" D'ANNUNZIO (BRONZE):
PRINCE PAUL TROUBETZKOy
[ 78 ]
PARDON OF ST. ANN LA PALUD: CHARLES COTTET
(Purchased for the Permanent Collection of the Buffalo Fine Arts Academy.
THE OLD HOUSE; HENRI MARTIN
STREET AT BRUGES ALBERT BAERTSOEN
(Lent by Georges Petit Galleries, Paris.)
THE AMAZONS
RENÉ-XAVIER PRINET
THE WOMAN AND THE SOURCE (BRONZE): LOUIS DEJEAN
[ 83 ]
TORSO OF A BACCHANTE (BRONZE): CHARLES-ALBERT DESPIAU
[ 84 ]
RABBIT (BRONZE): MLLE. JEANNE POUPELET
COMEDY: LUCIEN SIMON
[ 86 ]
r
M
THE BAY OF COMBRIT: ANDRÉ DAUCHEZ
EVENING ON THE ZAAM; RAOUL-ANDRÉ ULMANN
Lent by Georges Petit Galleries, Paris.
THE GRAY COW; EMILE GLAUS
THE PLACE CHÂTEAU BRIGAND. ST, MALO: J. W. MORRICE
THE FLOCK PASSING THE ROAD, AT THE RISE OF THE RED MOON: HENRI DUHEM
[ 92 ]
3 3«-JUL-
3 5556 037 800968
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