The sun. [volume] (New York [N.Y.]) 1833-1916, 1910-09-18

I hAA AIoAa - an hFNiaN ~ sa'uslhlhNl q
| but his design AMI color are truuhls'i
Nuillard - e man of stronger qualities.
lie has been compared Ia - Sidan~T
aud not Ia the advantage ~ the latter
A. Michel Puy cleverly puts u. there are
/ well read people who say that Paul Adam
dOca not write we'll and then they Rrnw
enthusiastic over the style vt Reno Razin'
WILLARD began a. follower ~ Monet
later this influence was moditied by that
: of Paul CH2anne. lie l. a master ~ deli
cate meditation. WILLARD. He has not
much breadth or versatility of style.
hut within his compass he 10 delicious.
His contemporaries, Il,ania. Rousrel. Bon
| nard. are also harmonlats with VALID
ton. S-rusier the beat pupil 10 OauRuin.
the decorator RanAnn and Maillnl the
sculptor. the-s painters have formed a
group in plain reaction from impression
ism Maurice neniz IL divided la his
affections between the intimate art and
the art of decoration. In both depart
ments he IL happy A generous spirit
Of humanity s,Ihusea his compositions
He paints women not aS gOddesse-
models, but as natural. loving. For him
the body 10 q religion: . pious candor.
not without q nuAnce Of the ssnsuous
may be discovered in HE large deoOTs-
tons. He 10 seduoinE in color and vet
his art has a leaning toward the academic
Herein 10 his danger lie repeats him
sell He Is given - fadeurs Roussel
has remained faithful 20 landscape which
he interprets with subtlety. His past.ls
are priced for their charming harmoniss
Bonnaid's infiuenoe un the younger mon
has been strong lie is the best endowed
artist Of the actual hour A colorist Of
audacity. he Is more soliCitous Of the de-
sign than were the earlier impressionists.
He sezes the attitude or evansscent
movement with astonishing exactitude
His observation IL just. be works slowly
Nalloton IL better known here as an
illustrator. hut he il something more
In reaction against all evidences II SEN
sbility his work has not escaped II. for as
pessimism has been called inverted s-ntl-
ment. - the glacial irony II Nallot)n
reveals latent fund OF hatred. ana
hatred il hardly a witness against the
poS--Ssion II sensibility He IL cold in
coloring mordant in design His rigidity
10 assumed. hut there - no DENYING the
power II his personality lie has touch
Of the satanic Reps in him and as a
"
The group known a. les Fauves
are revolTtionists against revolut ionists
They despise impressionism. although
they are impre-Ssionists 81 a newer order.
They beheve in attracting the attention
of the public ny the nost scandalous
methods. IN this they are as incorriEibly
romantic a. GAutier. Baudslaire and the
Others whose first commandment was
Ia starls the bourgeois stupid old
bourgeois who always refuse 20 he
startled But among these rude youth
az a man u a revolutionist IN PARIS he is
still youth n al there are a few major
talents. that Il Henri Matlzse for example I
He has science. he i re-ponsiv. to all the 4
infections Of the human form and has AZ
his hngertIp~ all the variations of colon
liz - one Of those lucky men FOR whom .
the simplest elements suffice 20 create
A living art. WITH a few touches a flower.
a woman. grow before your eyes lie
y a magician and when NJ taste fpr ~
YerimentInR with deforrnAtIunz changes
We may expect something astunishinR
Az present ne ~ pushed nv hotn friends
and enemies INTO ali manner 81 eNaggera-
tions. lie too cannot resist the tenpta- I,
tion To explode fireCrackers on the front
stoop 81 the Institute But master Of
liLe and decoration. Marqust and Puy
follow from afar the methods ~ MatIsse. h
Marluet - given TO landscape and has "A
sober almost aSCrtIc descriptive talent
lie J. u-y-F lyrical he sc=s clearly .
notes with precision. Puy - dowercd
with Imagination liz - a painter born
and born with a d~slrs' to paint what hls
ny" shows him, also what hI- fantasy con
rs,v-S Mauguln has facility. a savory
pa ls't" and = gay manner - eu ISaClug
~" D"raIn abtudons himself To- q decor
tive rag" He submitted ~ first 20 lap
tne-e Influences Hud has not escaped
\lttts~". Hts simplicity IN the notation 81
landscape - adfnIrabl. DE Nltminick m
he beginning was IN love with color To
spread II vide and thick seemed he duty
Ie has clarified ms vision. he IL an aEr.r.
able a. we'll - able decorative painter
friesz came rather late into the cumptny
4 m" others. hen"" has siyl, has matIrrI
slowly H.. landscapes are tranquil but
~ LATER work is f.y"r.sh Girieud has
he courage u hls brush ~ we'll A. h
,p,nions lie - fauve - the pure.
Satsr What MatI-s- would timidly suS
Jest ~ one may speak - tImiity IN Ma
md then dots hisIs ~ any ~ the inde.
,endent salons there always j. . crowd IN
ront ~ his explosive canvas"s BrIcaue
n the contrary has reduced the universe
- = georetrical scheme Nletzinser - a
,oet, N"rhoeven a decorator MainSssuN
nterpr~ts landscap" with gravity
ESpagnat has frankly continued tho
~ Monet and R.noir HIS
: fascinating talent. Alb"r, AndrS.
upl ~ R"npir, = dangerously facile
lis fresh. laughing gamut ~ tones. his
mastery ~ d"-ign make his pictures
ways - plsasur" 10 gaze upon W.
opc 20 hear an excellent account ~
Indr~ some day. L.basque and Pavio'
r" men ~ lesser though also agreeable
ifts Naltat has more inspiration He
often without rneisur" but his touch -
ch. ylrIl", his pictures palpltating with
aTiegated hu~- There - al-o delicate
mbre which marks the poet Painters
UGH as l.sprade Gu@rin DufrSnoy.