rART OF f RANGE AND BELGIUM fROMTHE fANAMA-fACIFIC INTERNATIONAL EXPOSITION L'art n'existe pas sans la vie. not r jo\o ■ Al'CrSTK RODIN Head of Bellona CATALOGUE OF AN EXHIBITION OF PAINTINGS AND SCULPTURE FROM THE LUXEMBOURG MUSEUM, PARIS, OF OBJECTS OF DECORATIVE ART FROM THE MOBILIER NATIONAL, THE GOBELINS AND THE SÈVRES MANUFACTORIES, OF PAINTINGS, SCULP- TURE, AND PRINTS BY CONTRIBUTING FRENCH AND BELGIAN ARTISTS FORMING THE ART COLLECTION EXHIBITED BY THE FRENCH GOVERNMENT AT THE PANAMA-PACIFIC EXPOSITION, 1915 BROOKLYN MUSEUM FEBRUARY 5 to MARCH 1 8 1918 INTRODUCTION The American public owes to the French government the op- portunity of enjoying the present exhibition of French art. Select- ed from distinguished sources it is an exhibition admirably repre- presentative of painting and sculpture of our immediate epoch and to a certain extent of the sumptuous decorative art which has through all modern history reflected and adorned French culture. Despite the great risks of the war, France, never losing sight of her mission in the arts of peace, cordially accepted the invitation of the United States to cooperate in the Panama- Pacific International Ex- position of 19 1 5. Her commissioners organized the contributions of the French artists to the International display in the Palace of Fine Arts at San Francisco and selected from the collection in the Lux- embourg Museum some of the best examples of the national painting and sculpture and equally from the depository of decorative arts, the Mobilier National, many rare objects for the adornment of her beautiful official pavilion in the Exposition grounds. The Fine Arts exhibit of the French government was therefore divided into three sections. Of these the paintings and sculpture, the property of the contemporary contributing artists, and the paintings and sculpture from the Luxembourg Museum have been exhibited in a number of American museums in the west since the close of the Exposition ; but the retrospective collection of the decorative arts has been shown since only at the San Diego Exposition. For the first time, therefor, since the close of the Panama-Pacific Exposition, the French exhibit, excluding the contributed works which were sold at vSan Francisco, is assembled in its entirety. With French courtesy the delicate compliment is paid to the Americans, of confiding to their care these creations of artistic genius which is so truly the charac- teristic of the gifted French people. If it were not for the strong ties that unite France and America it is quite improbable that these treasures could be sent so far from home. Visitors to San Francisco will remember that there was a col- lection of the sculptures and paintings of Belgian artists exhibited in a gallery fitted up for the purpose in the French Pavilion. As a mark of sympathy for her grievously stricken ally and neighbor, France assumed the entire care of the Belgian collection and that too is included in the present exhibition. It is a situation full of patriotic significance that the United States lends to her allies France and Belgium the aid of her men and material resource and in return receives from them the rare advantage of studying at first hand under government auspices their cherished works of art which are the most impressive manifestation of European culture. We are not unfamiliar with French art, as has been suggested in the preface by the director of the Luxembourg Museum, M. Bén- édite, but this is the first time that a governmental art exhibition has been left in America for so long a period for the edification of the public. It may be due to the circumstances of the war but nevertheless it is accompanied by a spirit of willingness and fraternal sympathy which cannot help but bind us more closely to the French people. W. H. F. AVANT-PROPOS La date de 1870 est une date mémorable dans l'histoire des arts comme dans l'histoire même de la nation. Au point de vue politique et social, c'est le point de départ d'une nouvelle étape qui doit aboutir à l'établissement définitif du régime républicain et à la réalisation progressive de l'idéal démocratique ; au point de vue des arts, c'est également le point de départ d'une nouvelle étape dans la marche en avant de l'École et l'aboutissement de tous les efforts tentés par les maîtres les plus originaux, depuis le commencement du siècle, pour remettre l'art sur sa voie normale d'expression de la vie contemporaine, non seulement dans ses apparences extérieures, mais dans ses aspirations propres, qui constituent l'idéal personnel de notre temps. La grave leçon des événements a produit ses fruits. La France a trouvé dans sa défaite la source de son relèvement. Dès la prem- ière heure, elle est comme une grande ruche au travail. De toutes parts, chacun se remet vaillamment à l'ouvrage, au milieu des ruines qui se redressent et du pays qui renaît. L'art français affirme, dès ce moment, la vigueur de sa constitution et la vitalité de la race par l'éclat exceptionnel dont il brillera presque aussitôt, en 1873, à l'Exposition internationale de Vienne et par la manifestation triom- phale de l'Exposition Universelle de 1878. Nombre de ces illustres anciens qui ont porté au loin la gloire de l'Ecole à travers les grandes luttes romantiques, les Jules Dupré, les Larai, les Cabat, les Robert- Fleury, les Isabey, les Gigoux, les Meissonier, sont encore debout et fermes à cette heure ; les grands naturalistes ou réalistes d'hier, Corot, Millet, Courbet, ouvrent même cette période, que leur œuvre, après leur mort, va plus utile- ment féconder. Tout ce labeur magnifique de trois quarts de siècle va se fondre et se condenser durant cette dernière période, en ex- pressions nouvelles hautement significatives. Dans l'ordre de l'imagination, le grand courant idéaliste abou- tira au large mouvement de peinture monumentale dont Paul Baudry, puis Puvis de Chavannes, plus particulièrement, ont été les person- nifications les plus typiques. Dans l'ordre de l'observation, le courant réaliste se perpétue et s'affine, en se sublimant, dans un mouvement d'analyse plus aiguë, d'examen plus attentif, plus méthodique, plus scientifiquement raisonné, des phénomènes physiques de la lumière et de l'atmosphère et, peut-on dire aussi, des phénomènes moraux et sociaux des milieux contemporains. C'est de là que sont issues ces deux formules de " l'Impressionnisme ", avec des maîtres comme Manet et Degas, Claude Monet et Renoir, qui ont ouvert à leurs suivants une voie si neuve et si originale, et ce compromis entre les pratiques de la tradition et la vision plus hardie des groupes indé- pendants, trouvé par Bastien-Lepage qui eut, par le monde entier, une si heureuse fortune. Il serait prétentieux, à propos de cette petite exposition, de re- faire ici l'histoire de cette période du développement des arts en France, d'autant plus que cet exposé dépasserait les limites assignées à cette introduction. Toutefois, une constatation s'impose dès à présent et mérite de retenir l'attention : c'est la coïncidence, en apparence singulière, entre la date de la dernière grande crise de l'art français et celle de la dernière grande crise de l'existence na- tionale. C'est que ce parallélisme se répète en arrière avec la môme exacte périodicité à chaque phase de la vie politique de la nation ou du processus de l'École. Si à la date de 1870 correspond, en effet, l'éclosion de l'Impressionnisme, la date de nos précédentes ré- 10 volutions politiques, depuis la grande Révolution de 1 789 qui semble consacrer la réforme de David, la date de 1830 et la date de 1848 ne sont-elles pas exactement la première, celle du triomphe du Roman- tisme ; la deuxième, celle de l'apparition publique du Réalisme ? La morale de ces rapprochements, c'est que l'art, en France, est toujours en relation étroite avec la vie, qu'il en est le miroir fidèle et comme l'expression suprême. C'est pourquoi il est à notre portée, il nous parle le langage que nous parlons et que nous com- prenons ; il nous touche et nous émeut. Ce rôle essentiellement humain explique le développement méthodique et progressif de l'école française ; elle n'est pas constituée, comme d'autres écoles, par des courants artificiels, systématiquement, dans l'atmosphère exclusive et étouffée des Académies et des Musées. C'est au Louvre, certes, que s'est faite l'éducation de nos plus hardis novateurs, de ceux mêmes qui, par suite des plus malheureux malentendus, ont été considérés comme en opposition avec nos traditions séculaires, mais jamais l'Ecole ne s'est emprisonnée dans les serres chaudes des Musées ; elle a toujours regardé au dehors, dans la nature et dans la vie, et au dedans, dans les profondeurs de l'âme humaine. Pour prendre d'illustres exemples, c'est ce qui fait la différence entre un Lenbach, dilettante habile, savant, qui se transmue à travers la peau de tous les maîtres pour jouer au chef-d'œuvre, nous sur- prendre et forcer notre admiration, et un Ricard, qui s'assimile sub- tilement leurs techniques, se pénètre et s'imprègne de leur génie, pour exalter, avec la magie de sa prestigieuse palette, le mj\stère troublant de la physionomie humaine. Ces vertus discrètes d'observation attentive, tenue en éveil par une fine sensibilité ou d'imagination ardente toujours contenue par la raison vigilante, donnent leur style et leur bon ton aux productions de cette période. Ce sont des vertus de race. Elles se rencontrent avec la même dignité simple, la même noblesse sans apparat chez des académiciens savants comme Cabanel, qui atteint dans ses por- 11 traits une si rare distinction, que chez ce modeste Panis, inconnu encore hier, même dans son pays, dont le Violoneux, exposé ici, par sa sobriété et sa probité, par la tiédeur enveloppante de son atmos- phère paisible, est parent des Brodeuses et des Liseuses de Fantin, ou des Femmes eft prières de Legros ; ou bien encore ce Mettling, in- aperçu dans nos Salons, où il arrive à peine à décrocher deux men- tions honorables, méconnu autour de lui, alors qu'il commence à être recherché en Hollande et en Angleterre. Car le xix e siècle, en France, est rempli de ces personnalités intéressantes de second plan, qu'on ramène tous les jours à la grande clarté de l'Histoire, qui est aussi celle de la Justice. Ce serait faire injure au public américain que de célébrer de- vant lui des maîtres auxquels il a marqué son admiration éclairée, si manifestement que nous ne pouvons penser à la place qui a été faite à certains d'entre eux dans les galeries publiques et privées du Nouveau-Monde sans un sentiment de gratitude émue. Nous savons le prix que l'on attache en Amérique aux œuvres de nos grands art- istes nationaux. N'est-ce pas là bientôt qu'il faudra venir les étudier si l'on veut les connaître complètement ? Mais ce que nous voudrions, nous Français, surtout à cette heure, que l'on se plût à reconnaître dans toute notre Ecole, comme caractère général, comme vertu commune, c'est cette loyauté artis- tique, cette honnêteté foncière, cette probité de race, cet amour et ce culte de la vérité qui illumine partout ce qu'on a appelé " le divin mensonge de l'art ". Un professeur d'Outre- Rhin, il y a quelques années, à propos d'une exposition de peintures patronnée par leur Empereur, à Chicago, s'évertuait à prouver que l'Ecole française, quel qu'ait pu être son passé de vieille culture, avait fini son rôle d'éducatrice et que cette mission revenait à la nouvelle école germanique, plus saine, plus vigoureuse, d'une vitalité plus énergique. Les disciples 12 et les héritiers des Puvis de Chavannes et des Rodin sont du même sang que les soldats de J offre Les Américains apprécieront leur ré- ponse. Comment, du reste, pourraient-ils oublier que les grands in- itiateurs de ce qui est devenu cette florissante école nationale, les La Farge et les Saint-Gaudens étaient des fils de France, que leur im- mortel Whistler s'honorait d'être issu de notre école, que les George Inness, les William Morris Hunt, les Winslow Homer étaient fiers d'avoir été formés à l'enseignement de nos Th. Rousseau, de nos Millet, de nos Courbet, qu'il y a, de ce fait, et de beaucoup d'autres plus récents, une parenté étroite entre l'art d'Amérique et l'art de France ? Puisse donc ce choix, nécessairement limité, d'oeuvres françaises, rappeler aux amis d'Amérique le nom de ces maîtres attachés aux leurs par tant d'affinités et de sympathies ; puisse-t-il évoquer le souvenir des luttes fécondes, des conflits glorieux, des conquêtes heureuses, des enrichissements nouveaux pour la joie des yeux et la délectation de la pensée qui marquent l'histoire de l'Ecole française durant ces quarante années où toutes les énergies furent laborieuse- ment employées au profit de la civilisation universelle. Car la France, au lieu de préparer, au cours de ces quarante- quatre ans, un sinistre programme de domination temporelle basée sur l'extermination et la dévastation, n'avait pensé à prendre sa re- vanche des jours mauvais que par les armes pacifiques des lettres, des sciences et des arts ; qu'en assurant la propagande des plus nobles idées, des sentiments les plus hautement désintéressés dans un large idéal de fraternité humaine. L'alerte et fière "Semeuse" au bonnet phrygien a bien tra- vaillé en jetant le bon grain, à foison, sans marchander, sur tous les sols, en dépit des vents contraires. La moisson lève aujourd'hui, magnifique et serrée, autour d'elle. La gracile Espérance de Puvis de Chavannes peut voir fleurir enfin le frêle brin d'herbe qui verdo- yait timidement avec elle, dès les premiers jours, entre les ruines, 13 les décombres et les tumulus de 1870. Et, pour finir, on trouvera dans une vitrine de cette exposition, une autre œuvre d'un de nos artistes, bien significative elle aussi, sur la mission du génie français C'est une toute petite médaille due au talent d'un jeune maître graveur, Ovide Yencesse. Elle a été exécutée d'après un dessin d'Eugène Carrière et représente deux têtes unies par un " baiser de paix". Et la petite médaille, comme le beau dessin, grave et ten- dre, est la traduction imagée d'une petite phrase, vraiment pro- phétique, de ce grand visionnaire que fut Michelet, une phrase qu'on ne peut lire aujourd'hui, sans un frisson d'émotion, de fierté partriotique et de foi en l'avenir : Au XX e siècle, la France déclarera la paix au monde. Léonce Bénédite M TRANSLATION The year 1870 is memorable in the history of the Arts as well as in the history of the French nation. From the political and so- cial point of view it is the beginning of a new period which was to bring about the final establishment of the Republican form of gov- ernment, and the progressive realization of the democratic ideal ; from the artistic point of view it is also the beginning of a new period, that of the universal influence of the French School, and of the success crowning all the efforts of its most original masters, (since the beginning of the century) , to re-establish art in its normal path of expressing contemporary life, not only in its exterior mani- festation, but also in its high aims which constitute in reality the individual ideal of our time. The severe lesson of events has borne fruit. France discovered its ability to rise again from the depths of defeat. From the first moment it became a veritable bee-hive of industry. Everywhere everyone starts diligently to work amidst the ruins, and in the land reborn. French art of the period showed the solidity of its founda- tion and the vitality of the race through the superlative success it achieved at the International Exposition of Vienna in 1873, and its final triumph of the Paris Exposition of 1878. Many of those famous artists who have spread abroad the glory of the School through the great romantic struggle, the Jules Duprés, the L,amis, the Cabats, the Robert-Fleurys, the Isabeys, the Gig- oux, the Meissoniers, are now at this hour secure in their enduring 15 reputations ; the great naturalists or realists of yesterday, Corot, Millet, Courbet, inaugurate the period, which their work at their death will render more fruitful. All this magnificent labor of three- quarters of a century will, during this last period, merge into new and highly significant methods of expression. With reference to the imaginative quality, the great idealist drift will be absorbed in the important movement of mural painting of which Paul Baudry, and afterwards Puvis de Cha vannes, are more particularly the prototypes. As to the quality of observation, the trend of realism continues, and, becoming more and more effective in the constant effort to arrive at the essence of nature, finally mani- fests itself by its acute analysis, searching examination, and me- thodical and scientific consideration of the physical phenomena of light and atmosphere, and, it may be added, also of the moral and social phenomena of contemporary movements. From this the two distinct formulas of "Impressionism" came forth, with such masters as Manet and Degas on one side, and Claude Monet and Renoir on the other, who open for their followers so new and orig- inal a path, and also the formula for that compromise between the followers of the tradition and the bolder group of the indepen- dents, expressed by Bastien- Lepage who has received, the world over, such a sympathetic reception. It would be pretentious, in connection with this exhibition, to write here the history of this period of art transition in France, inas- much as it would exceed the limits of this foreword. However one fact remains and must be kept in mind : it is the strong coinci- dence between the date of the last great crisis of French art and that of the last great crisis of French national existence. It is the parallelism which is to be found in the past with the same exact periodicity at each phase of the political life of the nation or the progress of the School. If the date, 1870, marks in fact the opening of Impressionism, the date of the preceding political revolutions from the great revolution of 1789 which seems to consecrate the reform 16 of David, the dates of 1830 and 1848 commemorate equally, the first, the triumph of Romanticism, and the second, the public ap- pearance of Realism. The moral of these comparisons is that, in France, art is always in intimate relation with life, that it is its faithful reflection, its su- preme expression. That is why it is within our reach, that it speaks to us in our own language, and that we iinderstand it and that it leads and inspires us. This essentially human quality explains the methodic and progressive development of the French School, which has not grown up systematically, as it is in other schools, through artificial influences, in the exclusive and stifling atmosphere of the academies and museums. It is true that to the Louvre is due the education of our boldest exponents of the new, the very ones, who through a gross misapprehension, have been considered as opposed to the traditions of the past, but never did the School limit itself to the comfortable confines of the museums ; the School always has fixed its gaze upon real nature and life, and the study of the human soul. Resorting to well known illustrations, this is what makes the difference between the type of Lenbach, clever, learned dilettante, who produces quasi masterpieces which surprise us and force our admiration although reflecting superficially the work of all the masters, and the type of Ricard who has assimilated the technique of those same masters, absorbed and understood their genius, pro- ducing through the magic of his impressive coloration, the moving mystery of the human physiognomy. These discreet qualities of careful observation, kept awake by keen sensibility, or of eager imagination always restrained by sound judgment, give style and comeliness to the productions of this period. They are racial qualities. They can be found with that same digni- fied simplicity, that same noble but unostentatious style among such learned academicians as Cabanel, whose portraits are character- 17 ized by a rare distinction, as well as in the modest Panis unknown till yesterday, even in his own country. The painting of the latter, "The Man with the Violin", is exhibited here, and can be com- pared, because of its moderation, its simplicity, the all enveloping softness of its peaceful atmosphere, with the "Brodeuses" and ' ' Liseuses ' ' of Fantin, or the ' ' Women Praying ' ' of L,egros. It is found also in Mettling, ignored by his contemporaries, and un- noticed in our Salons where he obtained with difficulty two honor- able mentions, and today his works are much sought for in Holland and in England. The France of the XXth century is full of in- teresting personalities of the second rank, who gain recognition through sheer force of justice. It would be superfluous to praise to the American public these masters who already enjoy its appreciation in such full measure that we cannot but think of the hospitality with which they are re- ceived in many public and private galleries of the New World with- out a feeling of sincere gratitude. We know how America values the works of our great national artists. If things go on as they do, shall we not soon be obliged to go to America to study French art ? It is the ambition of Frenchmen, especially at this time, to have French art recognized for its artistic cohesion, fundamental honesty, racial probity, its love and worship of truth which illumines with the light of day what is termed ' ' the divine illusion of art ' ' . A professor from beyond the Rhine some years ago on the oc- casion of an exhibition of paintings in Chicago under the patronage of the Kaiser was striving to prove that the day of the French School, whatever its past had been, was over, and that its educa- tional mission now passed to the new, healthier, stronger, more en- ergetic German School. But the same blood runs in the followers and heirs of the psychology of Puvis de Chavannes and Rodin as in the soldiers of Joffre. America knows how they will re- spond. Furthermore, it cannot forget that the initiators of what 18 came to develop into a flourishing National American School, the La Farges and the Saint Gaudens, were descendants of French people, that the immortal Whistler was proud of his French training, that George Inness, William Morris Hunt, Winslow Homer, and their fellows have been glad to acknowlege their indebtedness to our Theodore Rousseaus, our Millets, our Courbets, and that, in this fact and in many others of more recent date, there is close re- lation between the art of America and of France. Thus, let this limited selection of French works of art recall to our American friends the names of our Masters allied to theirs by such bonds of sympathy ; let it remind them of those fruitful strug- gles, glorious conflicts, happy victories, of those new embellishments for the gratification of the eye and the delight of the mind which have marked the history of the French School during these last forty years when all its energy was centered upon the task of uni- versal progress and civilization, For forty-four years France instead of devoting herself to an evil program of world dominion, based upon ruin and extermina- tion, thought to avenge the bitter past only with the pacific weapons of literature, science and art, to spread the propaganda of lofty ideals, the unselfish sentiment in favor of universal brotherhood. Despite all obstacles and all discouragement the vigilant and proud ' ' Semeuse ' ' * wearing her Phrygian cap, has labored dis- interestedly in sowing her cultural grain, without stint, even on foreign soil. Today the crop clusters high, thick and magnificent * Roty's design used in the French coinage represents a female figure sow- ing and is known as " La Semeuse ". 19 around her. The grass now waves luxuriantly under the eyes of the lovely ' ' Hope ' ' of Puvis de Chavannes, which grew up feebly with her amid the ruins, the rubbish, and the graves of 1870. And finally, this exhibition includes a significant object by one of our artists which illustrates the mission of French genius. It is a very small medal, the work of a talented young engraver, Ovide Yencesse. It was modelled after a drawing by Eugène Carrière, and represents two heads exchanging the ' ' Kiss of Peace ' ' , and this little medal, like the beautiful, simple and sympathetic drawing, is the plastic equivalent of a few prophetic words of that great visionary, Michelet, — words that cannot be read today without a thrill of patriotic pride and faith in the future, — " In the twentieth century France will give to the world peace" . 20 RETROSPECTIVE COLLECTION OF PAINTINGS 18701910 CATALOGUE BASTIEN-LEPAGE, Jules 1848- 1884 Pupil of Cabanel, friend of Emile Zola and exponent of the "plein- air" formula of painting. i Portrait of M. Simon Hayem. BAUDRY, Paul Jacques Aimé 1828- 1886 Pupil of Sartoris and Drolling. He is the author of the thirty- three mural paintings in the Foyer of the Opera in Paris, which were exhibited at the École des Beaux- Arts in 1874. He also decorated the Cour de Cassation in Paris, the Château of Chantilly, and the residence of comte Henckel de Donnersmarck in Paris. 2 Portrait of Mme. Madeleine Brohan (celebrated actress, 1883-1900). BENJAMIN CONSTANT, Jean Joseph 1845- 1902 Pupil of Cabanel. Some of his decorations are at the Sor- bonne, the Opéra-Comique, and the Hôtel de Ville of Paris, and in the Capitole of Toulouse. 3 Portrait of Aunt Anna (One of the artist's aunts). BESNARD, Paul Albert Born 1849 Pupil of J. Bremond and Cabanel ; Director of the French 21 Academy in Rome. Some of his mural decorations can be seen at the École Supérieure de Pharmacie, at the Faculté des Sciences, at the Sorbonne, the Théâtre- Français, the Hôtel de Ville, in the Cupola of the Petit Palais des Beaux- Arts of Paris. Mme. Besnard, herself a sculptor, is the daughter of the sculptor, Vital-Dubray, and two of their sons and their son-in-law, Mr. Avy, are artists. 4 Portrait of Alphonse Legros (French painter and sculptor 1 837- 1 9 1 1 ) . {Illustrated. ) 5 View of the Lake of Annecy (near which is the country home of the artist) 6 Two decorative panels. BONNAT, Léon Born 1833 Pupil of Federico de Madrazo and Léon Cogniet. Director of the École Nationale des Beaux-Arts. Author of the Retrospective Martyrdom of St. Denis in the Pantheon, and also of the Collection of ceiling of the Cour d'appel in the Palais de Justice in Paris. Paintings 7 Portrait of Mme. Pasca (a well-known singer, 1835-1914) Exhibited at the Salon of 1875 ; loaned by Mme. Carruette. 8 Portrait of Robert-Fleury (celebrated painter, 1799- 1890) BOUDIN, Eugène Louis 1824-1898 Born in Honfleur ; a great many of his subjects were taken from that locality. At one time he became interested in the Impressionist movement and became very friendly with Claude Monet. 9 The Port of Bordeaux. BRETON, Jules Adolphe 1827-1906 Pupil of F. de Vigne (whose daughter he married), of the Baron Wappers, and of Drolling. He was the father of Virginie Demont-Breton, the painter. 10 Evening. {Illustrated.*) 22 CABANEL, Alexandre 1824-15 Pupil of Picot. He was professor at the École des Beaux- Arts; his mural decorations at the Tuileries and the old Hôtel de Ville in Paris were destroyed during the Com- mune. He also made some decorations for the Pantheon. 1 1 Portrait of the Comtesse de K. CAROLUS-DURAN, Emile Auguste Born 1837 Director of the French Academy in Rome from 1904 to 1 91 3, and ex- president of the Société Nationale des Beaux- Arts. His decoration entitled A la gloire de Marie de Méd- ias, orginally painted for the Luxembourg, is today in the Louvre. Many American artists studied in his studio ; among them, John Singer Sargent. 12 Portrait of the Marquise A. CARRIÈRE, Eugène 1849- 1906 Pupil of Cabanel. Carrière has executed but few mural paintings which are today in the Paris Hôtel de Ville and the Sorbonne. He was one of the founders of the Société Nationale des Beaux- Arts. The Crucifixion. Exhibited at the Salon of 1897. Alphonse Daudet and his daughter (1890) {Illustrated.) CÉZANNE, Paul 1839- 1906 First worked under the influence of Courbet, and after- wards of Manet ; in 1874 he joined the Impressionists School. 15 L'Estaque, a village near Marseilles. COLIN, Gustave Henri 1828-1910 Pupil of Dutilleux, Corot, Ary Scheffer and Couture ; but influenced afterwards by Delacroix and Courbet. 16 Portrait of a Young Woman. 13 14 Retrospective Collection of Paintings 23 Retrospective Collection of Paintings CORMON, Fernand Born 1845 Pupil of Portaëls in Antwerp, and of Cabanel and Fromen- tin in Paris. He is a professor at the École des Beaux- Arts. 17 The Forge. DAGNAN-BOUVERET, Pascal Adolphe Jean Born 1852 Pupil of Gérôme, and influenced by Bastien-Lepage. One of his mural decorations can be seen in the Sorbonne ; he was one of the founders of the Société Nationale des Beaux- Arts. 18 In the Forest. {Illustrated.') DECHENAUD, Louis Adolphe Born 1866 Pupil of Boulanger, Lefebvre and Benjamin-Constant. Member of the Société des Artistes Français since 1888 19 Portrait of Henri Charles Etienne Dujardin-Beaumetz, French painter and statesman. DEGAS, Edgar Hilaire Germain 1834-1917 Pupil of Lamothe. Began as an engraver ; upon his return from Italy, where he resided from 1857 to 1859, he joined the group of independent artists composed of Manet, Claude Monet, Fantin-Latour, etc., and afterwards formed the group of Impressionists ; he never exhibited at the Salons; he is well represented both at the Luxembourg and at the Louvre. 20 A Café, Boulevard Montmartre. (Pastel) 21 The Finale. (Pastel) DEHODENCQ, Alfred 1822- 1882 Pupil of Léon Cogniet. 22 March of Bohemians. 24 DELAUNAY, Jules Élie 1828-1891 Pupil of Hippolyte Flandrin. Some of his mural decora- tion can be seen in Nantes, and in Paris at the Opéra, in the Château of Compiègne, in the Conseil d'État, in the Church of the Trinité and in Saint- François- Xavier. 23 Portrait of the Artist's Mother. DESBOUTIN, Marcellin 1823- 1902 Pupil of Etex and Couture. This artist was also an en- graver, and wrote several plays, one of which, entitled Maurice de Saxe, was played at the Comédie- Française. 24 Portrait of Mme. Cornereau. DETAILLE, Edouard Jean-Baptiste s- 1 91 2 Pupil of Meissonier ; some of his mural paintings can be seen at the Pantheon and the Hôtel de Ville of Paris. 25 The Dream. {Illustrated.) This painting, first exhibited at the Salon of 1888, is the best known composition of the artist. The French soldiers, asleep on the battlefield, have rolled up their flag. Above the mist of the rising sun appear the glorious armies of the past announcing the victories of the future. DUBOURG, Victoria Born 1840 Wife of the celebrated French artist, I. H. J. T. Fantin- Latour (1836- 1904) She paints mostly still life, flowers and fruit. 26 Bouquet of Flowers FALGUIÈRE, Jean Alexandre Joseph 1 831- 1900 Well known sculptor ; he was a pupil of Jouffroy and also produced a number of paintings. 27 Begging Dwarfs , Souvenir from Granada. Retrospective Collection of Paintings 25 Retrospective Collection of Paintings FANTIN-LATOUR, Ignace Henri Jean Théodore 1836-1904 Pupil of his father and of Lecoq de Boisbaudran ; after 1859 he, with Legros, Ribot and Whistler, formed the group of Realists ; he also produced a number of litho- graphs. 28 Portrait of Mme. Fantin-Latour (Victoria Dubourg) {Illustrated . ) FLAMENG, François Born 1856 Son of the engraver Leopold Flameng ; pupil of Cabanel and Jean-Paul Laurens. 29 Portrait of Mme. François Flameng, wife of the artist. GAILLARD, Claude Ferdinand 1834- 1887 Pupil of Lecoq de Boisbaudran and Léon Cogniet ; this artist is better known as an engraver. 30 Portrait of Mme. R. (the artist's aunt) GAUGUIN, Eugène Henri Paul 1848- 1903 He was founder of the School of Pont-Aven and the friend of Van Gogh and Pissarro. 31 Landscape in Brittany. 32 Frieze. GERVEX, Henri Boni 1852 Pupil of Brisset, Fromentin and Cabanel ; influenced by Bastien-Lepage. 33 The staff of the newspaper La République Française (1890) The figures are those of M. Challemel-Lacour, former President of the French Senate ; Waldeck-Rousseau, form- er Premier ; Spuller and Jules Roche, former Secretaries ; Joseph Reinach and Emmanuel Arène, Deputies. Lent by Mr. Joseph Reinach. 26 GUILLEMET, Jean Baptiste Antoine Born 1843 Pupil of Corot and friend of Manet, in whose painting " The Balcony " (which can be seen in this exhibition) he is shown standing. 34 Autumn at Moret. HARPIGNIES, Henri 1819-1916 Pupil of Achard, and influenced by Corot. He has painted decorations for the Opéra and the Senate. 35 Landscape ' ' Le Saut du Loup. ' ' (Illustrated. ) HÉBERT, Antoine Auguste Ernest 1 817-1908 Pupil of Benjamin de Rolland, Monvoisin, Delaroche, and Jules Dupré ; one of his compositions in mosaic decorates the apse of the Pantheon. 36 Head of Laurel-Crowned Muse. (From the collection of the Princess Mathilde). HENNER, Jean Jacques 1829- 1905 Pupil of Goutzwiller, Guérin and Drolling. Christ Crucified, (This picture was painted for the Palais de 37 38 Justice, Paris). Portrait of Mile. Laura Le Roux (Daughter of Hector Le Roux, the painter). Retrospective Collection of Paintings LA TOUCHE, Gaston 1 854- 1 9 1 3 Pupil of Bracquemond. Painter and engraver, he has produced a number of mural decorations, among them, a "Fête de Nuit" for the Palais de l'Elysée, for the Depart- ment of Justice, and also for Mr. McDougall Hawkes of New York. 39 A Summer Night. 27 LAURENS, Jean Paul Born 1838 Pupil of Léon Cogniet and Bida. Some of his decorations adorn the Pantheon, the Hôtel de Ville of Paris and the Cap- itole of Toulouse ; he also made several cartoons for the manufacture des Gobelins ; his sons, Albert and Jean Pierre, are both artists. 40 The Men of the Holy Office. (Illustrated.*) LEGROS, Alphonse 1837-1911 Pupil of Lecoq de Boisbaudrau. Painter, sculptor and engraver ; he was a friend of Whistler with whom he went to London in 1863 ; he remained in England the greater part of his life. 41 Portrait of Léon Gambetta. (celebrated French statesman 1838-1882) LEPÈRE, Louis Auguste Born 1849 Retrospective Son of the scu i ptor) François Lepère. Collection of „. T . , , 42 The Vagabond. Paintings LHERMITTE, Léon Augustin Born 1844 Pupil of Lecoq de Boisbaudran. Some of his mural decor- ations can be seen in the Hôtel de Ville and the Sorbonne in Paris. 43 A Musical Evening (Drawing). This represents a musical evening at the home of the ar- tist Eugène Emmanuel Amaury Duval (1808- 1885), who can be seen standing in front of the mantelpiece. The man with the violin is Achille Dien, another artist ; the com- poser seated at the left is Saint- Saens, and back on the right standing is Emile Augier, the well known playright. Made in 1881. MANET, Edouard 1832-1883 Remained for a time in the atelier of Th. Couture, and and traveled afterward in America and in Europe, studying 28 in Spain. He became the chief of the famous school of the Batignolles, whose members were Degas, Claude Monet, Guillemet, Fantin-Latour, Sisley, Pissarro, and others. 44 The Balcony The three figures are Mile. Morizot, the well-known painter ; the sister-in-law of the artist ; back of her stand- ing is the landscape painter, Antoine Guillemet. MEISSONIER, Jean Louis Ernest 1815-1891 Pupil of Léon Cogniet ; founder and first president of the the Société Nationale des Beaux- Arts. This artist was also a sculptor ; two pieces by him can be seen in the sculpture section of this exhibition. 45 Antibes. The man on horseback in this painting is the artist him- self, who lived for a long time in that little town of Prov- ence. Lent by Mr. George Petit. MERSON, Luc Olivier Born 1846 Pupil of Chassevent and Pils ; some of his mural decora- tions can be seen at the Palais de Justice, Hôtel de Ville, Opéra-Comique, Château of Chantilly, etc. 46 The Duchess of Montmorency and the Poet Théophile. A sketch for the decoration of the pavilion de Sylvie in the park of the castle of Chantilly. Sylvie is the name which the poet Théophile de Viau gives in his works to Marie- Félice des Ursins, duchesse de Montmorency. He was sentenced to death in 1623 for his writings, and the tradi- tion has it that the Duchess saved his life in Chantilly, hiding him in that part of the park. METTLING, Louis 1846-1904 47 Head of a Young Man. A Study. MONET, Claude Oscar Born 1840 Pupil of Gleyre ; friend of Manet, Degas, Cézanne, Renoir 29 Retrospective Collection of Paintings and Sisley. In 1869 his painting entitled "Impression, The Rising Sun", gave to that group of artists the name of Impressionists. 48 The Church of Vétheuil. 49 The Cathedral. (This picture belongs to the series of the "Cathedrals" taken from the Cathedral of Rouen at different hours of the day). MOREAU, Gustave 1826- 1898 He was professor at the École des Beaux- Arts in 1892, and was well known as a technician. 50 Jason MOROT Aimé Nicolas 1 850- 1 9 1 3 Retrospective Pu P u of Cabanel. Collection of 51 Rezonville, August 16, 1870. {Illustrated.} Paintings An incident of the Battle of Rezonville ; the division of cuirassiers under Général de Forton charging the 7th Regiment of Prussian cuirassiers and the 16th Regiment of Uhlans whom they destroyed. NEUVILLE, Alphonse Marie de 1835-1885 Pupil of Picot. 52 The Cemetery of Saint- Privât. An incident of the Battle of Saint- Privat-la-Montagne, a village in Lorraine in the neighborhood of Metz, which oc- curred August 18, 1870. The French troops were under the command of Maréchal Canrobert. 53 Le Bourget, October 30, 1870 "Le Bourget, heavily shelled and surrounded by a whole division of the Prussian Guard, had just been retaken bj' the enemy. It seemed that the struggle was finished, but 30 in the village church eight French officers and perhaps twenty men — soldiers from the guard, some mobiles and a few francs- tireurs — still offered resistance. They fought to the bitter end. They were shot from the windows, but the enemy had to bring forth artillery to compel them to sur- render"). (From Général Ducrot's La Défense de Paris.) 54 Attack of a Barricaded House at Villersexel, January 9, 187 1. After a bloody struggle Villersexel had been taken from the troops of the 18th Corps. Some German soldiers bar- ricaded in several houses kept nevertheless a murderous fire. The French soldiers, having vainly tried to smash in the doors, went through several barns and brought some straw and wood which they fired. All that remained of the Germans were either killed or captured. This is the first sketch of the painting exhibited at the Salon of 1875. PANIS, Jules Ernest 1827-1895 Pupil of Lehmann and advised by Corot. He was teacher of drawing in the schools of the City of Paris. 55 The Man with the Violin. PISSARRO, Camille 1830- 1903 Influenced by Corot and Courbet, and a friend of Manet and Cézanne. He was the originator of the pointillisme. 56 The Red Roofs. PUVIS DE CHAVANNES, Pierre Cécile 1824- 1898 President of the Société Nationale des Beaux-Arts after Meissonier. He was the greatest mural painter of his time, and his compositions can be seen in Marseilles, Poitiers, Amiens, Lyons, Rouen, the Pantheon and the Hôtel de Ville in Paris, the Sorbonne, the Boston Public Library, etc. 57 Hope. (Painted in 1872) {Illustrated.} 58 The Revictualliug of Paris by Saint Genevieve, patron saint of the city, attacked by Attila and his Huns, A. D. 451. (Original drawing of the last monumental composition of the master placed in the Pantheon, 1897- 1898). Retrospective Collection of Paintings 3i Retrospective Collection of Paintings RAFFAELLI, Jean François Born 1850 One of the founders of the Société Nationale des Beaux- Arts. He is also an engraver and sculptor. 59 Guests Waiting for the Wedding Party. {Illustrated.) 60 Notre-Dame de Paris. RÉGAMEY, Guillaume 1837-1875 Pupil of Lecoq de Boisbaudran, in whose studio he worked with Fantin-Latour and Legros. 61 Cuirassiers at the Wine-Shop. RENOIR, Paul Auguste 1841-1917 Pupil of Gleyre and a friend of Claude Monet and Sisley. 62 Portrait of Madame H. 63 Liseuse. 64 Théodore de Banville, celebrated French poet (1 823-1 891). (Pastel). 65 Le Pont du Chemin de Fer à Chatou. RIBOT, Théodule 1823-1891 Pupil of Glaize. His paintings are reminiscent of the real- 66 ism and technique of Ribera. The Good Samaritan. ROLL, Alfred Philippe Born 1847 President of the Société Nationale des Beaux- Arts. Some of his mural decorations can be seen in the Hotel de Ville in Paris, the Petit Palais, etc. 67 Portrait of the landscape painter Damoye. 68 The Dragoon. 32 ROYBET, Ferdinand Born 1840 69 Little Girl with her Doll. {Illustrated.) SISLEY, Alfred 1839- 1899 Pupil of Gleyre and friend of Claude Monet and Renoir. 70 The Banks of the Loing. TISSOT, James 1836- 1902 Pupil of Flandrin and Lamothe ; influenced by Henry Leys and Courbet. He remained for ten years in Palestine where he painted the watercolors of the Life of Christ now belonging to the Brooklyn Museum, which were ex- hibited in Paris in 1894. 71 Young Woman in Red Jacket. TOULOUSE-LAUTREC, Henri de 1864- 1901 Retrospective Pupil of Princeteau and Cormon ; but more influenced by ««,,.. , r Collection of Degas and Forain. Paintings 72 Woman at her Toilet. Lent by Mr. Joyant. VERNAY, called FRANÇOIS MIEL 182 1- 1896 Pupil of the École des Beaux- Arts of Lyons. 73 Flowers and Fruit. VOLLON, Antoine 1833- 1900 Pupil of the École des Beaux- Arts of Lyons. 74 Portrait of the Painter by himself. ZIEM, Felix François Georges Philibert 1821-1911 Pupil of the École des Beaux-Arts of Dijon. 75 Antwerp. 33 SCULPTURE BARTHOLOMÉ, Albert Born 1848 Began as a painter, and studied under Barthélémy and Gérôme, but after 1891 devoted himself to sculpture. He is the author of the celebrated Monument to the Dead which is in the Cemetery of Père-Lachaise in Paris. 76 Pleureuse. (One of the studies made for the Monument to the Dead in the Père-Lachaise Cemetery). DALOU, Jules 1838- 1902 Pupil of Abel de Pujol, Duret and Carpeaux. 77 Lavoisier, celebrated French chemist ; born in 1743, guil- lotined in 1794. (Model for the statue erected in the grand amphitheatre of the Sorbonne). GÉROME, Jean Léon 1824- 1904 Painter, sculptor and professor at the École des Beaux- Arts. 78 Bonaparte at Cairo. 34 [vEGROS, Alphonse 1837-1911 79 Torso of a Young Girl. MEISSONIER, Jean Louis Ernest 1815-1891 This artist is the well-known painter of military subjects. 80 Herald-at-Arms of Murcia. 81 Géraud Christophe Michel Duroc, Marshal of France, Duke of Frioul. (1772-1812. He was one of the schoolmates of Napoleon at the École de Brienne, remained his devoted friend and is buried by his side in the Invalides) . MERCIÉ, Marius Jean Antonin Born 1845 Pupil of Jouffroy and Falguière ; professor at the École des Beaux- Arts. He is also known as a painter. 82 Michael Angelo. RODIN, Aguste 1840- 19 17 Pupil of the Petite École de Dessin et de Mathématiques, of Barye and Carrier ; one of the founders of the Société Nationale des Beaux- Arts, President of the Société Nou- velle and of the International Society of Sculptors, Painters and Gravers. This well known sculptor has also produced several paintings, and was also well known as an engraver. 83 Falguière. 84 Severed Head of John the Baptist. 85 Eugène Guillaume. 86 Alphonse L,egros. 87 Head of Bellona. {Frontispiece). Retrospective Collection of Sculpture 35 MEDALS BOTTÉE, Louis Alexandre Born 1852 88 Prize Medal for the Drawing Schools of the City of Paris. 89 Commemorative Medal for the Wars of Chili. 90 International Universal Exposition of Saint Louis. 91 Medal for Prizes at the Universal Exposition of 1889. 92 French Committee for Foreign Exhibitions. 93 Appolo and Marsyas. Competition of Music for the State. 94 Medal to Commemorate the Opening of the New Port of Calais. CHAPLAIN, Jules Clément 1839- 1909 95 President Carnot, 1837- 1894. 96 Léon Gérôme, painter and sculptor, 1824- 1905. 97 Eugène Guillaume, sculptor, 1822- 1905. 98 Charles Gounod, composer of music, 1818-1893. 99 Martha Heuzey. 100 France and Russia : Medal to Commemorate the Visit of the Russian Squadron to Toulon, October, 1893. 10 1 Medal to Commemorate the Rebuilding of the Hotel de Ville, Paris. 36 io2 Prize Medal for the Protection of Young Children. 103 Medal to Commemorate the International Congress of Electri- cians, Paris, 1872. CHARPENTIER, Alexandre Louis Marie 1856-1909 104 Medal offered to Dr. Potain by his Pupils. 105 Frieze of the reverse of the above mentioned plate: model. 106 Homage to Emile Zola, 1840- 1902. 107 Model for the embossing of the binding of Tissot's book on the "Life of Jesus. " 108 Faun and Bacchante. 109 Camille Pissarro, painter, 1830- 1903. no Edmond de Goncourt, writer, 1822-1896. DUPUIS, Jean Baptiste Daniel 1849- 1899 (known as Daniel- Dupuis) in Commemorative Medal for the Universal Exposition of 1889. 112 Horticulture. 113 Cardinal de Bonnechose. 114 P. C. J. Jansen, astronomer. 115 Charity. Medal for the superintending council of the " Assis- tance Publique ' ' of the Seine. 116 Amphitrite Carrying Away Science to the Bottom of the Sea. Medal to commemorate the Expedition of the Talisman. 117 History. Medal for the the Secrétariat Général of the Right at the Chamber of Deputies. LEGROS, Alphonse 1837-1911 118 Erasmus. Retrospective Collection of Medals 37 Retrospective Collection of Medals Alfred Tennyson, 1809- 1892. Charles Darwin, 1809- 1882. John Stuart Mill, 1773- 1836. George Frederick Watts, 18 17- 1904. Charles Ricketts, painter and engraver. Charles Shannon, painter and engraver. The Woodcutter. Inspiration. LEVILLAIN, Ferdinand, called LEVILLIN 1838- 1905 127 The Vine and the Wheat. The Education of Bacchus. Young Woman Feeding Doves. The Four Seasons. The Earth. The Chanoine Beau. A Potter. Mark of the National Manufactoty of Sèvres. The City of Paris : Universal Exposition of 1889. The Seine. PATEY, Henri Auguste Jules Born 1855 136 Hope. Medal for the Société Nationale des Architectes Français. Medal in Commemoration of the Experiments in Dirigible Balloons at the Aerostatic Establishment of Chalais-Meudon. A. L. Barye, sculptor, 1796- 1875. Universal Exposition of Lyons. The Lyons Shooting Society. Henriette. 38 119 120 121 122 123 124 125 126 128 129 130 131 132 133 134 135 137 138 139 140 141 142 143 Hercules and the Hydra. PETER, Victor Born 1840 144 The Happy Age. 145 Society of French Orientalist Painters. 146 Lion and Bull : for the Society of Friends of the Medal. 147 Hunting Dogs. Medal for a sporting club. 148 Gazelle. 149 Gazelle Grazing. 150 Louis Pasteur, 1822-1895. 151 The Lion and the Fly. 152 Duck smoothing its Feathers. ROTY, Louis Oscar 1846-1911 Retrospective 153 Study. Collection of 154 Plate to Commemorate the Funeral of President Carnot. Medals 155 Patria Non Immemor. 25th Anniversary of the Foundation of the Republic. 156 Medal Commemorating the Inauguration of the Statue of Liberty in New York Harbor. 157 Léon Gambetta, 1838- 1882. 158 The Prefecture of Police. 159 Léon Gosselin, member of the Institute (Academy of Sci- ences), a celebrated surgeon. 160 Marriage medal. 161 Medal for the Society for Encouraging Art and Industry. 162 The Toilet; back of a mirror. 163 Madame Herbette. 39 [64 Painting. Retrospective Collection of Medals VERNON, Frédéric Charles Victor de 1858- 191 2 165 Dr. J. M. Charcot, 1835- 1893. 166 The Law. 167 Medal to Commemorate the Marriage of Louis- Philippe- Rob- ert, Duke of Orleans, and the Archduchess Marie- Dorothée- Amélie, of Austria. 168 The Marseillaise. Medal to Commemorate the Centenary of the Marseillaise, 1792- 1892. 169 The Vintage. 1 70 Medal to Commemorate the Arrival of the Emperor Nicholas 1 1 of Russia at Cherbourg. 171 Per Industriam Opes. YENCESSE, Ovide Born 1869 172 Pierrette the Poor One. 1 73 Virginie the Wise One. 1 74 Ponscarme, engraver in medals. 175 Magnin, senator. 1 76 Manette. 177 "In the XXth century, France will give to the World Peace. " Michelet. 1 7 8 Berlioz : 1 803- 1869. 179 Plate for the Repression of Poaching. 180 The Sower. 181 Edme Piot, sénateur. 40 PAUL ALBERT BESNARD Portrait (-1 Alphonse Legros M be S x x X 'w < c '.• ■*-" W ^ 'J « < 43 PASCAL A. J. DAGNAN-BOUVERKT In the Forest 44 i 4 Jï c 5£ . tf - ^^jy '% IÈ^m*W ^m IGNACE HENRI J. T. FANTIN-LATOUR Portrait of Madame Fantin-Latour (Victoria Dubourg) 46 y. y, S 03 47 JEAN PAUL LAURENS The Men of the Holy Office 48 H ~ << bfi W <+-. a o O _ n o Dd n fr| p M y O X ?> 66 PAINTINGS LENT BY CONTEMPORARY FRENCH ARTISTS 1910-1915 CATALOGUE ADAN, Louis Emile 1 The Holy Family. ADLER, Jules 2 Christmas in the Faubourg. {Illustrated. ) AGUTTE, Mme. Georgette 3 My Garden in Spring ; from the Studio. 4 The Lake of Comfère, Haute Engadine. AUBURTIN, J. Francis 5 The Swan. 6 Landscape. AVY, Joseph Mari us 7 The Last Pin. 8 Fruit. BAIL, Franck Antoine 9 The Kitchens; Château Fleury-en-Bierre. BALANDE, Gaston 10 The Greased Pole. {Illustrated.) 67 Contemporary French Paintings BARBIER, Georges i i Turandot. 1 2 Gilles. BAUDE, François Charles 13 Communicants, Flanders. BAUDOUIN, Paul 14 Ivy. Fresco on fibre cement. BEAUMONT, Hugues de 15 Room of the Collection of Henri Cain. 16 Corner of the Room; Jacques Doucet Collection. BÉRAUD, Jean 17 The Widower. BERTEAUX, Hippolyte 18 Goats Waiting to be Milked, Belle-Isle-en-Mer, 19 The Wild Coast, Goulphar, Belle-Isle-en-Mer. BESNARD, Albert 20 Women Asleep. Dancer with the Yellow Mask. Gouache. On a Stairway. Benares. Gouache. (Illustrated.} A Street in Madura. Gouache. The Man in Pink. Gouache. The Brahmin. Gouache. The Procession of Laugar. Gouache. A Curio Dealer in Delhi. Water Color. Study for the "Dancer with the Yellow Mask. " Gouache. 21 22 23 24 25 26 27 2 S 68 BLANCHE, Jacques Emile 29 Madame Ida Rubinstein in Korsakoff . ( Illustra ted. ) BOMBARD, Maurice 30 Persian Pottery. BONNARD, Pierre 31 Dining Room in the Country. Lenlb)' Messrs. Bernheim. BOULARD, Emile 32 Hayricks. BOUTET DE MONVEL, Bernard 33 The Village. 34 The Country Town. BRAQUAVAL, Louis 35 The Mouth of the Somme. BROC A, Alexis de 36 The Island of Arz, Brittany. BROUILLET, André 37 Among the Dunes. Lent by Messrs. Beniheim. 38 The Painter's House. Lent by Messrs. Bernheim BUFFET, Paul 39 Meadows; Evening CALBET, Antoine 40 Reading. "Scheherazade" by Rimski Contemporary French Paintings 69 Contemporary French Paintings CARO-DELVAILLE, Henri 41 The Lady with the Hydrangea. {Illustrated.) CARTIER, Karl 42 Evening; Moret-sur-Loing. CAYRON, Jules 43 Drawing Room of the Château. 44 The Green Turban. CHABAS, Maurice 45 In Brittany. CHAPUY, André 46 The Banks of the Marne. {Illustrated.') Lent by the French Government. CLAIRIN, Georges 47 Moorish Women. COLLIN, Raphaël 48 Nonchalance. COSSON, Marcel 49 The Salute. 50 Dancing Girls. DABADIE, Henri 51 Summer; Bouzaréah, Algeria. {Illustrated.) DARRIEUX, Charles René 52 Le Pardon of Tréboul-Goz, Douarnenez, Brittany, 70 DAVID-NILLET, Germain 53 Notre Dame; Paris. 54 Interior: Church of Saint- Maclou, Rouen. DAYOT, Mile. Magdeleine 55 Still Life. DELACHAUX, Léon 56 The Convalescent. DELASALLE, Angèle 57 The Bois de Boulogne. DENIS, Maurice 58 Renaud and Armide. 59 Communicants. 60 Nausicaa. Lent by Galerie E. Druet. 61 Study for "Nausicaa." 62 Tennis. Lent by Galerie E. Druet 63 Study for "Tennis." 64 The Bathers. Lent by Galerie E. Druet. 65 Study for ' ' The Bathers. ' ' 66 Tennis. Lent by Galerie E. Druet. 67 Study for "Tennis." 68 The Beach. {Illustrated.) Lent by Galerie E. Druet. Contemporary French Paintings 7i Contemporary French Paintings 69 Study for ' ' The Beach. ' ' 70 The Cart. Lent by Galerie E. Druet. 71 Study for "The Cart. " DESVALIvIÈRES, Georges 72 Sacred Heart. Lent by Galerie E. Druet. DETHOMAS, Maxime Pierre 73 Yvonne. 74 Jeanne. DIDIER-TOURNÉ, Jean-Émile 75 War. DOIGNEAU, Edouard 76 Guardian of the Camargue. DOMERGUE, Jean Gabriel 77 The Frog or the Interrupted Toilette. DUFRÉNOY, Georges 78 Still Life. Lent by Galerie E. Druet. 79 Parodi Fountain, Genoa. Lent by Galerie E. Druet. DUPUY, Paul Michel 80 A Camp of Nomads, Alicante. DUVENT, Charles 81 Boats on the Giudecca Canal, Venice. 72 ESTIENNE, Henri d' 82 Arab Girl carrying Bread. ETCHEVERRY, Hubert Denis 83 Corner of the Market Place, Granada. FAIVRE, Jules Abel 84 Parisian Girl. 85 Girl with a Hat. FARRÉ, Henry 86 Portrait of my Mother. FAUGERON, Adolphe 87 Night in Venice. FILLIARD, Ernest Contemporary 88 Dahlias. French 8q Red Roses. Paintings FLAMENG, François 90 Venetian Fete. FOREAU, Henri 91 Funeral of a French Soldier. FOUGEROUSSE, Jean Louis 92 Marionnettes ; The Attack. FOUQUERAY, Charles 93 The Invincible Armada. GALTIER-BOISSIÈRE, Mme. Louise 94 Musical Instruments. 73 Contemporary French Paintings GILLOT, E. Louis 95 Notre Dame, Paris. GODKBY, Charles 96 Autumn Sunlight ; Douarnenez, Brittany. GOSSELIN, Albert 97 The Bridge, Hulay. GRIVEAU, Georges 98 Woman at the Bath. 99 The Church in the Clouds. 100 The Silver thread of the Marne. {Illustra ted.) Lent by the French Government. GRIVEAU, Lucien 101 Cows at the Pond ; September. GROSJEAN, Henry 102 The Lowlands of the Valromey. GUÉRIN, Charles 103 Man with a Gourd. Lent by Galerie E. Druet. 104 Silver Goblets. Lent by Galerie E. Druet. 105 The Bouquet. Lent by Galerie E. Druet. GUIGNARD, Gaston 106 Cavalry Maneuvers, 1808. GUILLAUME, Albert 107 A Showman's Speech. 74 GUILLAUME, Henri 108 Roman Church. Water Colors. 109 Auvergne. 1 10 Peasant House. in Senlis Farmyard. ri2 In the Court. 113 Entrance to the Palace of Horticulture. 114 Netherlands Pavilion. 1 1 5 California Building. 1 16 The Tower of Jewels. 1 1 7 Court of the Universe. 118 Horticulture Hall. 119 California Gardens. 1 20 The Tower of Progress. Contemporary 121 Arch of the Occident. French Paintings GUILLEMET, Antoine & 122 Moonrise. Lent by the French Government. 123 The Old Mills of Moret. HANICOTTE, Augustin 124 Winter Scene in the Low Countries. HELLEU, Paul 125 The Cathedral of Rheims (before the bombardment). {Illustrated. ) JEANNIOT, Pierre Georges 126 Alone. 127 The Return of the Fishermen. 75 Contemporary French Paintings JOURDAIN, Francis 1 28 Verdure. Lent by Galerie E. Druet. 1 29 Still Life. Lent by Galerie E. Druet. KARPELÈS, Mlle. Andrée 130 A Fakir of the Jungle. LAPRADE, Pierre 131 Still Life. Lent by Galerie E. Druet. 132 Oranges. Lent by Galerie E. Druet. LA VALLEY, Louis 133 Portrait Group. LAVRUT, Mile. Louise 134 Portrait of Senator Borne. LEPAPE, Georges 135 Penelope. 1 36 Gilles. 137 Fancy Ball. LÉPINE, Joseph 138 Argentat on the Dordogne. LEROLLE, Henri 139 Rosy Morning. LEROUX, Georges Paul 140 The Lake. 141 Luxembourg Garden. 76 LOBRE, Maurice 142 The King's Library in the Château of Versailles. LUCE, Maximilien 143 Unloading: Quai d'Auteuil. MADELINE, Paul 144 River in Brittany. {Illustrated.) 145 The Génétin Mill. MAILLART, Diogène 146 Domesticity. MAILLAUD, Fernand 147 Autumn Landscape, Vallée Noire. Contemporary MANGUIN, Henri French Paintings 148 Girl with Red Slippers. 149 Landscape : Cassis-sur-Mer. MARQUET, Albert 150 The Port of Rotterdam. Lent by Galerie E. Druet 151 The Port of Rotterdam. Lent by Galerie E. Druet. MARTIN, Charles 152 Beneath the Temple. MARTY, André 153 The Crinoline. 77 Contemporary French Paintings MARVAL, Mme. Jacqueline Marie 154 155 Poppies. Lent by Galerie E. Druet. Bouquet. Lent bv Galerie E. Druet. MATISSE, Auguste 156 The Sea. MÉHEUT, Mathurin 157 On the Beach. Lent by the Luxembourg. 158 After the Storm. Lent by the Luxembourg. MERCIÉ, Antonin 159 Young Parisian Girl. MERCIÉ, Fernand Antonin 160 The Bridge, Toulouse ; Moonrise. MERSON, Luc Olivier 161 The Evening Song. MILCENDEAU, Charles 162 Washerwomen of the Marne. OLIVIER, Ferdinand 163 The Old Mirror. Lent by the French Government. PIOT, René 164 Flowers. 165 Design for a Fresco. 166 The Forum. 7* POINTELIN, Auguste Emmanuel 167 A Hillside in the Jura. RÉAUER-DUMAS, Maurice 168 Roman Wall, Seville. REDON, Odilon 1 69 Flowers. Lent by M. Joseph Hessel. RENARD, Emile 170 Evening. RENAUDOT, Paul 171 The Red Jacket. 172 The Red Peignoir. ROLL, Alfred Philippe 173 A Summer's Day. 174 Fighting Horses. 175 In Belgium. 176 Woman and Child. 177 Self- Portrait. 178 Summer Day at the Black Horse Inn. 179 At Deauville. 180 The Vegetable Garden. 181 War! Forward, March. Contemporary French Paintings 79 Contemporary French Paintings ROUSSEL, Kern Xavier 182 183 Eurydice Stung by the Serpent. Lent by M. Joseph Hessel. Idyll. Lent by M. Joseph Hessel. 1 84 Spring. Lent by Messrs. Bernheim. SIGNAC, Paul 185 Venice; Sails. Lent by Messrs. Bernheim. 186 La Rochelle: The Channel. Lent by Messrs. Bernheim. SIMON, Mme. Jeanne Lucien 187 Sainte Tranquilline. SMITH, Alfred 188 The Creuse in Winter. 189 Creuse: a Winter Sun. SOUILLET, Georges François 190 The Fête of Pallio, Sienna, July 2, 191 3. SUAU, Edmond 191 The Cup of Tea. 192 Still Life. 80 VAIvIvOTTON, Felix 193 Reading. Lent by Galerie E. Druet. 194 Painters. Lent by Galerie E. Druet. VUILLARD, Edouard 195 Woman in a Wood. Lent by M. Joseph Hessel. 196 The Lawn. Lent by Messrs. Bernheim. WAROQUIER, Henry de 197 Lily. ZO, Henri 198 The Patio. Contemporary French Paintings 81 PRINTS LENT BY CONTEMPORARY FRENCH ENGRAVERS BÉJOT, Eugène 199 Rouen. Etching. 200 Saint-Bernard Bridge. Etching. BELTRAND, Jacques 201 The Deer Park. Wood Engraving. 202 Landscape with Rabbits. Wood Engraving. BEURDELEY, Jacques Pierre Victor 203 Landscapes. Etchings. BOUTET de MONVEL, Bernard 204 The Return from the Market. Color Engraving. BRÉMOND, Jean Louis 205 The Cloud. Etching. 206 Under the Pines; Cliffs at Caux. Etching. BROQUELET, Alfred Jean Marie 207 The Pond. After Corot. Lithograph. BRUNET-DEBAINES, Louis Alfred 208 The Ponds, Ville D'Avray. After Corot. Etching. 82 BUSIÈRE, Louis 209 The Madonna of Saint Jerome. After Correggio. Steel Engraving. DAUCHEZ, André 210 Chapel of Saint-Guido. Etching. GUSMAN, Pierre 211 Three Original Woodcuts in Camayeu. HALLO, Charles Jean 212 Ironclad in Action. Etching. 213 The Wings at the Opera. Etching. LAGUILLEPvMIE, Frédéric Auguste 214 September Morn. After Chabas. Dry Point. LATENAY, Gaston de Contemporary 215 The Pond. Etching. French LEHEUTRE, Gustave 216 The Sluice of the New Canal at Troyes. Etching. 217 Cottages at Saint André. Etching. LE MEILLEUR, Georges 218 The Road to Fréquienne. Etching. LUNOIS, Alexandre 219 Moorish Dancers. Lithograph. OUVRÉ, Achille 220 Portrait of J. H. Rosny the Elder. Color Engraving. PROFIT, Georges 221 Portrait of Madame de Pompadour. After Boucher. Etching. 83 Prints SCULPTURE LENT BY CONTEMPORARY FRENCH SCULPTORS BARTHOLOMÉ, Albert 222 At the Water's Edge. 223 The Awakening. BERNARD, Joseph 224 Girl with Water Jar. BOUCHARD, Henri 225 Woman Nursing a Child. BOURDELLE, Emile 226 Beethoven. CARLES, Antonin 227 Field Flower. DAVID, Fernand 228 The Violinist. DEJEAN, Louis 229 Woman Seated. DESBOIS, Jules 230 Winter. GARDET, Georges 231 Sleeping Tiger. 84 JEAN-BOUCHER 232 Fra Angelico. LAMBERT, Gustave 233 Intaglios : Eleven Engraved Gems and Replicas. LANDOWSKI, Paul Maximilien 234 Dancer with a Serpent. MARQUE, Albert 235 Recumbent Woman Nursing Child. 236 Child Awakening. NAVELLIER, Edouard Félicien Eugène 237 Alzonne. PERNOT, Henri Contemporary ,-,.-, „ , t> * • French 238 Their Sunday ; Zeebrugge, Belgium. Sculpture POISSON, Pierre Marie 239 Arab Dancing Girl. ROCHE, Pierre 240 Loïe Fuller. ROLL, Alfred Philippe 241 Flemish Girl. SERRUYS, Yvonne 242 Dancer with a Veil. 243 Woman with a Cup. TARRIT, Jean 244 The Road to Fez. 85 CONTEMPORARY BELGIAN ART BAERTSOEN, Albert 245 Mining Country under Snow, Liège. {Illustrated .) CASSIERS, Henri 246 The Belfry. 247 A Summer Day at Volendam. Lent by M. Georges Petit. CHARLET, Frantz 248 Dressing Baby. GILSOUL, Victor 249 Evening in Antwerp. (Illustrated.} 250 Dunes at Nieuport. 251 The Grand Place, Brussels. 252 Corner in a Béguinage. 253 View from the Artist's Studio in Brussels. MARCETTE, Alexandre 254 Fishing Boats; Night Scene. 255 Storm in the Dunes, Nieuport. Lent by Messrs. Chaine & Simonson. OPSOMER, Isidore 256 Church of the Béguinage, Lierre. Color Etching. RONNER, Alice 257 Gillyflowers. VAN RYSSELBERGHE, Théodore 258 Fountain in the Garden of the Generalife, Granada. 259 Garden of the Generalife, Granada. 86 BUSIÈRE, Louis 209 The Madonna of Saint Jerome. After Correggio. Steel Engraving. DAUCHEZ, André 210 Chapel of Saint-Guido. Etching. GUSMAN, Pierre 211 Three Original Woodcuts in Camayeu. H ALLO, Charles Jean 212 Ironclad in Action. Etching. 213 The Wings at the Opera. Etching. LAGUILLERMIE, Frédéric Auguste 214 September Morn. After Chabas. Dry Point. LATENAY, Gaston de Contemporary 215 The Pond. Etching. French LEHEUTRE, Gustave 216 The Sluice of the New Canal at Troyes. Etching. 217 Cottages at Saint André. Etching. LE MEILLEUR, Georges 218 The Road to Fréquienne. Etching. LUNOIS, Alexandre 219 Moorish Dancers. Lithograph. OUVRÉ, Achille 220 Portrait of J. H. Rosny the Elder. Color Engraving. PROFIT, Georges 221 Portrait of Madame de Pompadour. After Boucher. Etching. 83 Prints SCULPTURE LENT BY CONTEMPORARY FRENCH SCULPTORS BARTHOLOMÉ, Albert 222 At the Water's Edge. 223 The Awakening. BERNARD, Joseph 224 Girl with Water Jar. BOUCHARD, Henri 225 Woman Nursing a Child. BOURDELLE, Emile 226 Beethoven. CARLES, Antonin 227 Field Flower. DAVID, Fernand 228 The Violinist. DEJEAN, Louis 229 Woman Seated. DESBOIS, Jules 230 Winter. GARDET, Georges 231 Sleeping Tiger. 84 JEAN-BOUCHER 232 Fra Angelico. LAMBERT, Gustave 233 Intaglios : Eleven Engraved Gems and Replicas. LANDOWSKI, Paul Maximilien 234 Dancer with a Serpent. MARQUE, Albert 235 Recumbent Woman Nursing Child. 236 Child Awakening. NAVELXIER, Edouard Félicien Eugène 237 Alzonne. PERNOT, Henri Contemporary 238 Their Sunday ; Zeebrugge, Belgium. Sculpture POISSON, Pierre Marie 239 Arab Dancing Girl. ROCHE, Pierre 240 Loïe Fuller. ROLL, Alfred Philippe 241 Flemish Girl. SERRUYS, Yvonne 242 Dancer with a Veil. 243 Woman with a Cup. TARRIT, Jean 244 The Road to Fez. 85 CONTEMPORARY BELGIAN ART BAERTSOEN, Albert 245 Mining Country under Snow, Liège. {Illustrated.} CASSIERS, Henri 246 The Belfry. 247 A Summer Day at Volendam. Lent by M. Georges Petit. CHARLET, Frantz 248 Dressing Baby. GILSOUL, Victor 249 Evening in Antwerp. {Illustrated.} 250 Dunes at Nieuport. 251 The Grand Place, Brussels. 252 Corner in a Béguinage. 253 View from the Artist's Studio in Brussels. MARCETTE, Alexandre 254 Fishing Boats; Night Scene. 255 Storm in the Dunes, Nieuport. Lent by Messrs. Chaîne & Simonson. OPSOMER, Isidore 256 Church of the Béguinage, Lierre. Color Etching. RONNER, Alice 257 Gillyflowers. VAN RYSSELBERGHE, Théodore 258 Fountain in the Garden of the Generalife, Granada. 259 Garden of the Generalife, Granada. 86 JULES A.DLER Christmas in the Faubourg «7 GASTON BALANDE The Greased Pole 88 ALBERT BESNARD On a Stairway, Benares 89 JACQUES EMILE BLANCHE Madame Ida Rubinstein 90 HENRI CARO-DELV AILLE The Lady with the Hydrangeas 9i m ANDRK CHAPUY The Hanks of the Marne 92 HKNRI DABADIE Summer, Bouzareah, Algeria 93 f\ » <• f > ; 94 GEORGES GRIVEAU The Silver Thread of the Marne 95 PAIL HKLLEl' The Cathedral of Rheims 96 PAUL MADELINE River in Brittanv 97 A LBERT BAERTSOEN Mining Country under Snow, Liège 98 VICTOR GILSOUL Evening, Antwerp 99 GETTY CENTER LIBRARY 0S*DA 3 3125 00135 2687 • BROOKLYN MUSEUM PRESS