New-York tribune., 1905-11-05
FRENCH AUTUMN SALON.
Traits and Tendencies ShoWn at the
Paris Exhibition

Paris, OCTOBER ID
The Autumn Salon. now open to the public IN
the Grand Palais OF the Champs Elysees' IN
dicates what the younger school Of painters is
striving for more clearly than is the case with
the two Official art fairs-the Salon OF the
French Artists and that of the National So
cietv which takes place in the spring. Most
of the artists who exhibit in the Autumn Salon
are '.revoutionsts,' but in this their third
manifestation there is an absence Of anarchy
or eccentricity, and scarcely any of the works
would present a discordant note il seen in the
classic salon presided over by Tony Robert
F1eury or Alfred Roll
The group of artists who at the head OF
the Autumn Salon-Carriere. Rodin. Desvalli-
eres and Raffielli-wish to show that the revo-
lutionists of to-day will become the academi-
clans of tomorrow. 1t is for this reason that
they exhibit thirty works Of Manet and
sixty-eght paintings and drawings of Ingres.
They maintain that Ingres. as compared with
David, great revolutionist as was
Manet in regard to Bouguereau. Ingres and
Manet were in their day essentially combative
artists, with their boldly conceived ideas
of form and of beauty, and it is interesting to
find them side by side and consecrated as
Saints in the progressive revolutionary Salon
d'Automne.
Another feature of the Autumn Salon is the
exhibition Of the prints of Outamaro, which IN
dicate the increasing influence of Japan upon
French art The trend of ambition among the
painters Of the Autumn Salon is not only to
produce the models the subjects. but to pre-
sent their atmosphere and the surroundings in
which they exist; they longer seek to catch
the attitude, but also the movement; they pay
less attention to producing the landscape than to
fix upon their canvas the play of light and shade
during given moments of the day night.
The Autumn Salon contains 635 numbers
besides the works of Ingres and Manet. There
is a marked tendency to confound picture with
decoration. This is especially observed in the
works of Jean Edouard WILLARD, young artist
whose pictures impart new and original note
to interior decorative painting. WILLARD is
masterful and daring coorist His grays,
green's, blues and volets blended con-
trasted in a most effective manner, and convey
the impression of harmonious tapestry. There is
a fascinating decorative panel Of Nymphs and
Fauns by Desvallieres, who is in painting very
much what Baudelaire in poetry. There
other equally fine decorative works by
Wiette-a Montmartre Venus jumping over
skip-rope composed of a green serpent: by Will
lam S. Horton. white peacocks. and by Robert
Winthrop Chanler lifesize giraffes eating leaves
from tall trees. Raffelli exhibits his once
famous portrait Of Clemenceau, painted over
thirty years ago; Eugene Carriere sends col
lection of his well known portraits of Anatole
France. Elisee Reclus, Mile Dufou, Abel Fairre
Rupert Bunny, Guirand de Scevola and Abel
Truchet exhibit exceedingly clever "genre''
portraits. Rodin easily carries off the honors in
the statuary section with his unfinished groups
for his great life work, the Gates of He'll" AL
together the Autumn Salon is well worth visit
c. L. B.
a e JOHNSON ACTING SWEDISH coNstu