The sun. [volume] (New York [N.Y.]) 1833-1916, 1910-09-18
SEEN IN The WORLD OF ART
FRENCH PIINTTRS OF TO-DII
IND THIIR NORM.
Tho Younger Wen ln Parts NHerted bS
Two Groups, Roth taIIei ReV SIutlsn-
Isis Methods and influence Sf MAtlsse
some ImPressIsnlsts sf n NeN
Order Talented Nslaan Painters.

orurf Ialentrd woman PAINTERS.
Precisely what - m" actual condition
Of painting iu Franc" to-day, and by
franC- 80 mean Paris 4 new move
ment IN art b. never isolated II attracts
the hardy few. u rrIr'l- the many who
fear u drt"st novelty m any form, and
of cOur-e j. mover officially recognized
bY hpsr WHO are safely housed within
the academy. Yet every new tendency
makes It's appeal even To the timid. men
VITO arr weary II old ways and means.
though they hrrltats before the. final
leap into the turbid str~am. stream
thai may carry them ~ destruction
Some. tenporiz". They recognize the
great current that Paul Cezanne set In
motion when lac left the impressionists.
aud thcy profit hy his ressarches DegaH
not without truth wIttily called Bastien
Lepage the Bouguereau Of the new move
ment: the gentle and gifted Ra=fisn had
absorbed enough nf the innovations Of
Manet and others to set up shop for him
self. He seemed revolutionary 20 the
critics, nevertheless pleased; 20 the rea |
anarchs he was q mere trifier who did
not dare to swim beyond the buoys %
the conventional.
The new painting crowd. that j. to
Gay the twentieth century men. have
been repToaChrd for making their art
inaccessible Ia the public. whose eye n
not accustomed to such violent depar-
ture from the traditional house
tree. cow, river-ar- not these easy
10 represent Have not all PAINTERS
set them forth alike on canvas This
crazy idea of personal vision leads to
a muddying Of the pure stream ~ art.
Man from time immemorial has been
still IL, a being with the allotted number
of limbs. Why then make % him -forked
Tadish with head fantastica carved?
But a man TO me Is not the man you see.
retorts the original artist. and forthwith
there is a wall IT, after the procedure ~
Matisse. something as contorted a. a
cactus does duty for q portrait Of human
ity Ia the nude
The majority u French painters who
trace their lineage back To David does
not bother ITSELF over the question 81 art
for ART, ycracitv II to b" found in the
school. without are the harbarians Close
the door and bar them; let their name he
anal hema' "" respectfully submit that
this Il hardly the right path to tho dis
coverv ~ truth. and while ws canno,
Subscrib" whole hearted 10 GaugiIin's
pronoUncement that in ART there arr
only plagiari~ts or lutlonarie-. vet !
there j. much 10 h, sand in favor Of the 7
latter. A. present two groups have. az .
fcCted IN" younger men IN Paris They
may b. called r'yulutIouI-ts they have .
been - i,-igna'rd hu' they arr no .
longer in rH" Vanguard u the cNtraya-
giants. one group consists If Emile
Berpard, Armand Point. Anquciin. the
second - composed II D,.yalliAre-. Plot .
and Rouaul The first hrre az heir debut
were closely attached q, n. new men
Bernard u particular was an avnwed .
follower Of ,r,anne Of ham Gau.oIIn
remarked one day yuu SIii s.-e that .
Bernard Will b"cp-u" "a Benjamin Con
Etant. which prediction luckily has not .
been verified without assessing genius
Bernard IT. more sincere artist than .
Constant. IL" l. disposed To do gmat ~ on .
technical proC'','i- and against this
Cezanne. who hated literary artists.
warned him. lie cpmpp-.- we'll and ms
harinonIe- arr uT'n and -uber. Armand
Point r. gwen - repeatIng he schemss
ot his Predecessors lie shows he.
academic Ir hi admiration II the past
Anquetln - "a genuine vIrtuosu - IA.
brush with a special prediction for The
decorative. Plot. EpIault. DpsValhrreS
reveal heir ipu, iII'.-s for Ciu-tave MORGAN
The more revolutionary they seem The
ea-ier II g. Tor the trained err, zeal eve
To note that they hay" not cut entirely
looee from th' Bra.N Art, And rernsrn-
her that all th'-" painters only "yhibrt
In tn" Autumn Sal ~ az with The hide
pendents There - nothing 50 novel that
IL cant Pc raced tu he Academy Dee
vallieres mas q happy kna"h m rendering
the a'In"-''h"ru nat second life envelope
ing ". and thu with sense Il mystery
quite captivating Tn" palett" Il Plot
~ clearcr ~" has - touch Il the Byzan-
tins. Sensual. noru-. and absurd hi,
creature wander IN an EXOTIC environ
mont ri- taste is morbid and curious
Death and carnality are associated in
his work ~ Rnuault "" once wrpt. IN
the-e columns that ne painted m a dark
cave eccentric h"Ingr who's. eyes could
Ia OWNED by tho Ight II IN. cigarette.
they smoked lie ha- emerged from hi
cellars and paints hctaira IN violent tones.
hard blue and scarlet He - a master Il
nj Ghi mares and wlthal g-ac,ilia rcaU-iic
jacques Blanche - popular painter
- portraits, Ind".i he H. an oriClal ppr-
fraitiSt Beginning a. a follower e the
English eighteenth century traditions h. ,
achieved O. personal styla H- IL solid
rafe, -anA II must h.. Cunf"--.i that
the theatrical picturesque ha- -.duced !
many IT he new TALENTS Pictures telling
distinct -t'TE Ar" IuIf" a. much "a .
vogue With m" French a. the English
The Frenc IA knows how = '~cap. IN. :
trIte. bare -sTt'ncutrLiv - hls brethren y
across tn" thtrI-l yet he none IN. less ,
lnduige- ~ m" 49, pI"r. C0tta' = land .
scapes do r.I always show . desire - .
distl from i'" motive @ charm for the =
eyss Or lYgI' fur M" intelligence. he seeks :
the eree' thu %" knows viii IMPOSE upon
the mob that ,l-.t- the Salgu- simon - '
successful ~ h. smaller clrvasa-. which !
are u a certain sad severity His large
pictures ara sometimes empty despite
their rhetorical -puuTIties Henri l.. :
Sidhner r. always literary He po.tIza-
with the aud = h- -h,ipwv atnDsphar. y