SPECIAL EXHIBITION CATALOGUE Series 1912; No. 2 Price 10 Cents A COLLECTION OF WORKS BY MEMBERS OF THE SOCIETE DES PEINTRES ET DES SCULPTEURS OPENING SUNDAY, FEBRUARY 4, 1912 CITY ART MUSEUM OF ST. LOUIS anxa 2634 257 T he city art museum is open TO THE PUBLIC, FREE, EVERY DAY, INCLUDING SUNDAYS, FROM TEN O’CLOCK A. M. UNTIL FIVE O’CLOCK P. M. EMILE RENE MENARD 100 3 127 The Sphinx AUGUSTE RODIN Lent by Mrs. Eugene Meyer, New York 4 SPECIAL EXHIBITION CATALOGUE Series 1912; No. 2 THE CITY ART MUSEUM ST. LOUIS AN EXHIBITION OF PAINTINGS AND DRAWINGS AND SCULPTURE BY THE MEMBERS OF THE SOCIETE DES PEINTRES ET DES SCULPTEURS (Formerly the Societe Nouvelle) OPENING SUNDAY MORNING, FEBRUARY 4, 1912, AT TEN O’CLOCK, IN GALLERIES EIGHTEEN, NINETEEN, THIRTY AND THIRTY-ONE, IN THE WEST WING 1874 1912 THE CITY ART MUSEUM, ST, LOUIS BOARD OF CONTROL WILLIAM K. BIXBY President DAVID R. FRANCIS Vice-President WILLIAM H. LEE GEORGE L. ALLEN THOMAS H. WEST DANIEL CATLIN EX-OFFICIO: FREDERICK H. KREISMANN as Mayor BENJAMIN J. TAUSSIG as Comptroller DWIGHT F. DAVIS as Park Commissioner R. A. HOLLAND Acting Director MADELEINE BORGGRAEFE Secretary 6 Exhibition of the Societe des Peintres et des Sculpteurs A S IS USUAL in museum exhibitions of paintings bor- rowed from the country’s studios, or from artists of other lands, many of the works in the City Art Museum’s special exhibitions are for sale, on behalf of the artists. The commissions usually charged by American museums for sales of exhibits amount to from ten per cent to thirty per cent (the pro- ceeds going to the acquisition funds) . But as the City Art Museum is a municipal institution, no commissions will be charged; and any officer or employe of the Museum will gladly advise any resident of St. Louis in regard to the purchase of such pictures, and either correspond with the artist or give the artist’s address to any citizen of St. Louis; and no commission or compensation of any kind will be charged for such service. The obligation which the City Art Museum is under to the Artists and other owners from whom so many and so valuable art works continually are borrowed is appreciatively acknowledged; and community of interest between the Artists who thus contribute to our exhibitions, and the Public of the City; in order that we may have the benefit of the best exhibitions, is respectfully pointed out. The acquisition of good pictures, it respectfully is suggested, is a most effective way of enhancing the reputation of St. Louis as an art appreciative city. The City Art Museum is OPEN TO THE PUBLIC, FREE, EVERY DAY, including Sundays, from ten o’clock A. M. to five o’clock P. M. EUGENE CARRIERE 32 Child Smiling 8 JACQUES EMILE BLANCHE 18 Salome 10 EMILE RENE MENARD JACQUES EMIL BLANCHE 22 Portrait of Henry James 12 Exhibition of the Societe des Peintres et des Sculpteurs W ELCOMING to St. Louis these works by members of the Societe des Peintres et des Sculpteurs, the first exhibition of the Societe on the American side of the Atlantic, the City Art Museum desires to express its hearty appreciation of the generous spirit in which the members of the Societe and authorities and friends of art in France have extended their cooperation to enable us to contemplate in such representative selections the art of so important a sec- tion of the French painters and sculptors of our time. This notable exhibition is arranged cooperatively for three American museums, the Buffalo Fine Arts Academy, the Art Institute of Chicago, and the City Art Museum. The collection already has been seen in the Buffalo and Chicago institutions. It has attracted attention far beyond these cities, however, and excited much interest in the country. Thus papers in New York City have devoted many pages to its illustration and to comment upon it, and a demand has arisen for its exhibition there if possible. St. Louis therefore enjoys a privilege in seeing these works. The City Art Museum is indebted to the cooperation of the Buffalo Fine Arts Academy, and to the personal efforts of Miss Cornelia Bentley Sage, Director of that Academy, for the opportunity to show these pictures. The story of the successful effort made by Miss Sage to interest the European artists and authorities is told by her on another page. The City Art Museum has to express appreciative thanks for the assistance thus received in its educational work of fostering the true estimation of the arts, and the phases of art, in this city. To the members of the Societe des Peintres et des Sculpteurs, the art-loving public of St. Louis as well as the authorities of the Museum will be grateful. Only those familiar with the detail and the difficulty of such work can appreciate the services rendered to American art by Miss Sage and the leaders of French art who have cooperated with her, including, especially, the French Government, and Mon- sieur Leonce Benedite, Director of the Luxembourg. The City Art Museum also is obligated to the Art Institute of Chicago for cooperation and courtesies in this connection. 13 EDMOND AMAN-JEAN 6 Portrait of Madame Aman-Jean Lent from the Luxembourg Gallery 14 Exhibition of the Societe des Peintres et des Sculpteurs The biographical and critical information in the following pages, prepared by Miss Sage, will be valuable to students. Such a presentation, of so important a group of the artists of a country so great in art, will be recognized by many to be worthy of preservation. Like the catalogue of the exhibi- tion of paintings by another great French group, the Impres- sionist School and artists associable with them, which was the work of the late Dr. Charles M. Kurtz, this little volume treats of a very notable contemporary movement, and, illus- trated by the examples in the galleries, places in the hands of the people a fine opportunity to study the art of France. The City Art Museum St. Louis THE ARTISTS CONTRIBUTING TO THE EXHIBITION Members of the Societe des Peintres et des Sculpteurs John W. Alexander Walter Gay Edmond Aman-Jean Eugene Lagare Albert Baertsoen Gaston La Touche Paul Albert Besnard Henri Eugene Sidaner Jacques Emile Blanche Henri Martin Eugene Carriere Emile Rene Menard Emile Claus James Wilson Morrice Charles Cottet Mlle. Jeanne Poupelet Andre Dauchez Rene-Xavier Prinet Louis Dejean Jean-Francois Raffaelli Antonio de La Gandara Auguste Rodin Charles Albert Despiau Lucien Simon Henri Duhem Paul Troubetzkoy Raoul-Andre Ulmann Non -members Emile Bourdelle Fix-Masseau George Desvallieres Louis Auguste Lepere 16 Exhibition of the Societe des Peintres et des Sculpteurs WORKS ILLUSTRATED Artist 'Pitle and Number Page John W. Alexander: 1 At the Window 89 Edmond Aman-Jean: 4 The Kid 1 6 Portrait of Madame Aman-jean 14 Albert Baertsoen: 13 Street at Bruges 75 Albert Besnard: 16 Portrait of Ex-Senator Clark 85 Jacques Emile Blanche: 24 Portrait of the Marquis of Granby 72 18 Salome 9 Eugene Carriere: 32 Child Smiling 8 30 Self-Portrait 34 Emile Claus: 38 The Gray Cow 80 Charles Cottet: 41 Pardon of St. Ann La Paiud 92 55 The Land of the Sea : Triptych 23 57 Mourning: Brittany 81 Andre Dauchez: 61 The Bay of Combrit 79 Louis Dejean: 63 The Woman and the Source 94 Charles Albert Despiau : 64 Torso of a Bacchante 95 George Desvallieres: 157 Girl in Black 83 Henri Duhem: 65 The Flock Passing the Road 74 Antonio de La Gandara: 74 Portrait of Miss D 87 Eugene Lagare: 80 Head of a Young Girl 93 Gaston La Touche: 84 The Visit of the Princess Royale. . . 78 85 Landscape 2 Louis Auguste Lepere: 162 Landscape 71 Henri Martin: 97 An Old House 73 Emile Rene Menard: 108 The Judgment of Paris 88 99 Hylas. 10 100 Bucolique 3 James Wilson Morrice: 109 The Place Chateau Brigand.. 82 114 On the Beach 76 Mlle. Jeanne Poupelet: 119 Rabbit 91 Rene-Xavier Prinet: 120 The Amazons 70 Jean-Francois Raffaelli: 123 Les Champs Elysees 90 Auguste Rodin: 126 Danaide 22 127 The Sphinx 4 Lucien Simon: 139 Comedy 77 Paul Troubetzkoy: 145 Portrait of Gabriel D’Annunzio. . . 86 Raoul-Andre Ulmann: 153 Evening on the Zaam 84 AUGUSTE RODIN President, Societe Nouvelle From Photograph by E (hoard Steichen 18 PREFATORY BY Miss Cornelia Bentley Sage Art Director of the Buffalo Fine Arts Academy ROPERLY to judge any art movement, it is most essential to study the conditions that existed at the time Avhen 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 cen- tury. 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, espe- cially 7 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, yTt not too minute nor, on the other hand, too careless. This important group of men,.. which is known as the Societe Nouvelle, includes both painters and sculptors, and has the. distinction of claiming Rodin as its presi- dent. It is today emphatically the strongest and most homogeneous of the numerous societies whose various exhibitions follow one after the other in the Paris gal- leries. 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, 19 The City Art Museum St. Louis John Alexander, Walter Gay, and John Sargent; Canada gives it J. W. Morrice; 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 Societe Nouvelle is always worthy of sincere study, and produces great enthusiasm on the part of artists and art students, that the I )irector of the Albright Art Gallery singled it out and went to Paris to bring over work by each member of the Societe for exhibition at the Albright Art Gallery, the Chicago Art Institute, and the City Art Museum of St. 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 exhibition by these painters to Amer- ica can scarcely be conceived. It was known that the Societe Nouvelle had never been willing to leave Paris, even to exhibit 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 visited, not only in Paris, but in Meudon, where Rodin creates; in Saint-Cloud, where La Touche paints — inspired by the lingering influence of Marie Antoinette for sylvan scenes and fetes — and in various out-of-town studios, where the members of the Societe 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, 20 Exhibition of the Societe des Peintres et des Sculpteurs these men have such an international reputation that the majority of their paintings have been purchased 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 Eugene Carriere is included — Madame Carriere herself contributing family portraits; and a special privilege was accorded by the Luxem bourg authorities, who through their Director, Mon- sieur Leonce Benedite, have lent important works by Aman-Jean, Walter Gay, Lucien Simon, and Lepere. 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 pic- tures, the Directors of the Louvre and Luxembourg, the French Government Officials, the Georges Petit Gal- leries, and to those persons in France and elsewhere who have given sympathetic co-operation in the work of organizing the first Exhibition of the Societe Nouvelle in America. 21 22 AUGUSTE RODIN Exhibition of the Societe des Peintres et des Sculpteurs Charles Cottet: 55 The Land of the Sea ARTISTS AND TITLES JOHN W. ALEXANDER John W. Alexander, one of the American members of the Societe 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 Societe Nationale des Beaux-Arts and of the Royal Belgian Society of the Fine Arts; an honorary member of the Vienna and Munich Secession Societies; president of the National Academy of Design, New York; Chevalier of the Legion of Honor; honorary M. A. and Lift. D. from Prince- ton; 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 represented in practically every important American museum, as well as in the Luxem- bourg, Paris, Museums of St. Petersburg, Vienna and Odessa. Numerous private collections also contain his por- traits and other paintings. He is one of the original mem- bers of the Societe Nouvelle and has always been deeply in sympathy with their aims and ambitions. The City Art Museum St. Louis About two years ago Mr. Alexander showed in Buffalo a collection of forty-two of his best works, brought together especially for the Albright Art Gallery. His subjects vary widely and demonstrate the artist’s great versatility. They are portraits, genre, flowers, marines, with smaller land- scapes of great charm; and no one of us can study these JOHN W. ALEXANDER remarkable paintings without feeling that here is talent of the highest order. It is noticeable that Mr. Alexander, whose art many consider characteristically French, never studied in Paris, though he lived there a number of years as a practicing artist; he is essentially American, and we take pride in that relationship. 1 At the Window 24 Exhibition of the Societe des Peintres et des Sculpteurs EDMOND AMAN-JEAN 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 introspective, psychological, temperamental in character and very decorative. He is the chief of a very EDMOND AMAN-JEAN considerable school, which believes that poetry in modern life still exists. It is the temperament of Aman-Jean which has led him to conceive 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 The City Art Museum St. Louis 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 contours 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 ana object, encircle, contain, and bathe them all in diffused rays. In the elaboration of his pictures the effect made upon the eye plays 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 Decoratifs. 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 Pitts- burgh. He is also represented in the private collection of Albert Herter, Esq., Victor Harris, Esq., Grosvenor Atter- bury, Esq., and William Bosworth, Esq., of New York. He is a member of many important societies, including the Societe Nationale des Beaux-Arts, Paris, and the Societe Nouvelle. 2 The Conversation 3 The Gold-Fish (Decorative Panel) 4 The Kid (Decorative Panel) 5 Lemons and Aquarium (Still Life) 6 Portrait of Madame Aman-Jean Lent from the Luxembourg Gallery, Paris, through the courtesy of Leonce Benedite, Director, and the French Government 7 On the Balcony Lent by Victor Harris, Esq. 8 Portrait of Mrs. Albert Herter Lent by Ralph King, Esq., Cleveland 9 Portrait of Mrs. William Bosworth Lent by William Bosworth, Esq., New York 10 Portrait of Mrs. Grosvenor Atterbury Lent by Grosvenor Atterbury, Esq., New York 11 Portrait of Mrs. John W. Beatty Lent by John W. Beatty, Esq., Pittsburgh 12 Study-Head of a Woman Lent by W. H. Hinkle, Esq., Paris 26 Exhibition of the Societe des Peintres et des Sculpteurs ALBERT BAERTSOEN The City Art Museum St. Louis PAUL ALBERT BESNARD 28 Exhibition of the Societe des Peintres et des Sculpteurs ALBERT BAERTSOEN 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 exhibited at the Paris Salon “Canal, Matinee 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 exhibited, his subject “Le Dernier Rayon.” Since then his works have been constantly shown at the successive Salons of the Societe Nationale. We owe to him “Vieux Canal Flammand” (in the Luxem- bourg), “Riviere en Decembre,” “Grande rue a Nieuport,” “Vieux quai en Novembre,” and many others. The Musee de Brussels owns “Les Chalands sous le neige” (1901), one of his most beautiful canvases; and to the Luxembourg belongs “Le Degel,” which is, perhaps, his chef-d’oeuvre. 13 Street at Bruges Lent by Georges Petit Galleries, Paris PAUL-ALBERT BESNARD 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 Ecole des Beaux-Arts, and while still a mere boy made his debut 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 of that of her husband. For two years they lived in London, where Besnard came under the sway of impressionism ana the famous open-air school. His receptive faculties enabled him to acquire and assimulate on all sides, while at the same time losing nothing of his strength and personality. 29 The City Art Museum St. Louis 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 sup- pleness 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 execut3 allegories under entirely new methods. All his decorations, beginning with that of “Ecole 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 impor- tant 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 Emile Sauer, the musician, who lives in Dresden. The beautiful work entitled “Nude Figure” by Besnard was lent for a time to the Metropolitan Museum of Art, New York City. It belongs to Hamilton Easter Field, Esq., who has lent it to the Albright Art Gallery for the present exhibition. Paul-Albert Besnard is a member of the Societe Nationals des Beaux-Arts and the Societe Nouvelle of Paris. 14 The Smile Lent by Georges Petit Galleries 15 Flowers and Turtle-doves Lent by Georges Petit Galleries 16 Portrait of Ex-Senator William A. Clark Lent by William A. Clark, Esq., New York Nude Figure Lent by Hamilton Field, Esq., Brooklyn, N. Y. 17 Exhibition of the Societe des Peintres et des Sculpteurs JACQUES-EMILE BLANCHE The City Art Museum St. Louis JACQUES-EMILE BLANCHE 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. He seemed at one time to follow the impressionistic lead- ing 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 of 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-Emile Blanche, and wherever his beautiful appealing canvases go they carry with them the same sense of dextrous craftsmanship and the same caress- ing 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 English, 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-Emile 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 Societe Nationale des Beaux-Arts, Paris; the Secession Society, Munich; the International Society of Sculptors, Painters and Gravers, London; and the Societe Nouvelle, Paris. He is represented in the Luxembourg, Paris, the Uffizi, Florence; the museums in Brussels, Frankfort, Munich, Venice, Budapest, Dublin, Lyons, Rouen, and in many pri- vate collections both in Europe and America, including that of Mrs. Dodge in Florence. 18 Salome 19 Sunflowers and Dahlias 20 Blue Hydrangeas 21 Tea Table and Japanese Lilies 32 Exhibition of the Societe des Peintres et des Sculpteurs 22 Portrait of Henry James, Esq. 23 Portrait of Her Grace, the Duchess of Rutland 24 Portrait of the Marquis of Granby 25 Fragment of a Decorative Panel : Group of Women 26 Fragment of a Decorative Panel: Group of Men (Maurice Barres, Henri de Regnier, and the Artist) EUGENE CARRIERS (1849-1905) The death of Eugene Carriere, the painter of dreams, fad- ing light and veiled harmony, has made a profound impres- sion which will never be effaced, not only upon the friends of the man, but upon those who admire and love his art. Eugene Carriere: the name as well as the portrait suggest something indefinable, a signification mysterious and eter- nal. 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 perfectly indispensable. But this thought we have, also, that Carriere is always among us. I speak to all who knew him and understood him. Eugene Carriere was an interested member of the Societe Nouvelle. Carriere 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 pas- tels 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. Carriere immediately began to draw and paint, then went to Paris to follow the course of the Ecole des Beaux-Arts. Then came the war, and Carriere 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 Ecole des Beaux-Arts where he studied from 1872 to 1876. He then became com- petitor 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 sal- vation. It was thus that he became a painter of motherhood and of childhood. You could search the world over and in the The City Art Museum St. Louis history of art you would never find the sentiment of mater- nity and of infancy in Carriere’s works expressed as won- derfully and beautifully as by him. The pictures of Mother and Children of many other painters seem arranged, but with Carriere the sentiment is new, and this has created a personal art. The mother and children seem unconscious and the poses are natural. His portraits of children, of EUGENE CARRIERE 30 Self-Portrait young boys, young girls, and older persons are studies of the transformation of beings, and it is this spirit of human- ity that Carriere 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 1889, he was decorated with the Legion d’Honneur. In 1890, he was one of the 34 Exhibition of the Soc!ete des Peintres et des Sculpteurs first, with Puvis de Chavannes and Rodin, to detach him- self from the old group of painters, and together they founded the Societe Nationale des Beaux-Arts; and there the same year he exhibited a canvas called “Le Sommeil,” and the following year the three celebrated portraits of Alphonse Daudet, Paul Verlaine, and Gustave Geffroy. In 1892, the “Maternite” was purchased by the Luxembourg Gallery in Paris and is now one of its greatest treasures. The Luxembourg also owns “La Famille’’ and a wonderful head by Carriere. In 1893, the portraits of Gabriel Seailles, Madame Menard-Dorian, and Charles Morrice were exhib- ited; in 1895, a decoration for the Theatre de Belleville; in 1896, the lithograph portrait of Edmund de Goncourt, and in 1897, “Christ on the Cross.” Twice Carriere’s works were assembled and exhibited; the first time in 1891 at Valadon, at which time Geffroy presented them to the public with a 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 Car- riere in Paris, at which Rodin presided. There were six hundred sculptors, painters, poets, and philosophers, and their wives. This was a fete of love and enthusiasm from his confreres. Soon afterward Carriere became ill and after suffering for over a year, died on the evening of March 26, 1905. Carriere’s creations were his real life; his tears, his enchantments 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 to whom the hesita- tion of men can demand the law of the most essentia] humanity. 27 Portrait of Madame Eugene Carriere 28 The Kiss 29 Materna l Caress 30 Self-Por trait 31 Child w ith Collar 32 Child Si V1ILING 33 Head of a Little Girl 34 Mao ny — Landscape 35 Mag ny — Stormy Coast 36 Head of Madame Carriere 37 Rennes Lent by Mrs. Frances M. Wolcott The City Art Museum St. Louis EMILE CLAUS Emile Claus was born at Vive-Saint-Eloi, Belgium, Sep- tember 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 Academie d’Anvers. Here he studied under Keyser. From 1874 to 1889 he painted subjects of episode and sentiment, such as “Richesse et Pauvrete,” “Le Chernin des ecoliers,” “Le Bateau qui passe,” ‘‘La Veille de la fete,” 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 Bavaria, and the Order of Leopold; Knight of the Order of Orange-Nassau. Member of the Societe Nationale des Beaux-Arts, Paris; the Secession Society, Berlin; and the Societe Nouvelle, Paris. Represented in the Luxembourg, Paris; and the Museums of Dresden, Berlin, Venice, Brus- sels and Antwerp. Of a profoundly observing and reasoning spirit, he dis- tinguished 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 depicted 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 Rentree des Vaches” (1889), and many others. Of this artist’s work the Luxembourg possesses an exqui- sitely illuminated canvas which well bears the name “Rayon de Soleil.” 38 The Gray Cow 36 EMILE CLAUS The City Art Museum St. Louis CHARLES COTTET Charles Cottet was born at Puy, Haute-Loire, France, July 12, 1863. The early part of his life was passed at Evian- les-Bains, on the border of Lake Geneva. When at the age of seventeen he went to Paris, it was to continue the studies begun in Switzerland, 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 CHARLES COTTET for the Academie Julian, where he studied under the direc- tion of Boulanger and Jules Lefebvre, after which, enthus- iastic over the work of Puvis de Chavannes, he received from him some instruction, and was proud to declare him- self his pupil. Cottet has generally worked alone; inde- fatigable, 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 Cincinnati Museum Association, America. Exhibition of the Societe des Peintres et des Sculpteurs He was created Chevalier de la Legion d’Honneur in 1900, and exhibited at all the great international exposi- tions, 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 Societe des Peintres et Graveurs, the Orientalists, the Peintres Litho- grapheurs, and the Societe 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’lndustrie is well known; some of the artists, faithful to the venerable Societe des Artistes Franpais, stayed on the Champs- Elysees; the others who grouped themselves around the ideas of the Societe Nationale des Beaux-Arts 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 Carriere. Cottet, who had only once exhibited at the Artistes Fran- gais, followed this movement, as much to prove his sym- pathy with Puvis de Chavannes and Roll as for his own personal satisfaction. To the first exposition, he sent his earliest study of Brit- tany, “L’Anse du Toulinguet,” and at once an interest in this newcomer 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 Brittany; here are expressed the whole scale of sentiments which animate the life of its people. The pic- ture was at once accorded great admiration and the reputa- tion 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” fol- lowed. During the last few years Spain and Portugal have called forth the talent and observation of Charles Cottet: Avila, the Cathedra] 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. 39 The City Art Museum St. Louis 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. 39 Lamentation of the Women of Camaret on the BURNING OF THEIR CHURCH 40 Evening Service, Brittany 41 Pardon of St. Ann la Palud, Brittany 42 Portrait of the Painter, Lucien Simon 43 Young Girl with Amber Necklace 44 Grief 45 Procession in Plougastel Daoulac 46 Old Man and Old Woman from l’Ile de Sein 47 Young Girl with Muff Purchased for permanent collection of Rhode Island School of Design, Providence 48 Young Girl with Red Mantle 49 Young Girl at her Toilet 50 Apples and Book (Still Life) 51 Woman at her Toilet 52 Apples and Sealing Wax (Still Life) 53 Stormy Sea 54 Venice — Setting Sun 55 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 56 Evening in Harbor 57 Mourning, Brittany Lent by Cincinnati Museum Association ANDRE DAUCHEZ Andre Dauchez was born in Paris. 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 Bordees d’Arbres” 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 masterpieces. Member of the Societe Nationale des Beaux-Arts, Societe Nouvelle de Peintres et Sculpteurs; Societe des Pastellistes Franqais, Societe des Peintres-Graveurs, Paris. Awarded 40 Exhibition of the Societe des Peintres et des Sculpteurs bronze medal, Carnegie Institute, 1899; gold medal, Car- negie Institute, 1900; silver medal, Exposition Universelle, Paris, 1900; second gold medal. International Exposition, Munich, 1901. Represented in the Luxembourg, Paris, and the Carnegie Institute, Pittsburgh. 58 The Sea at Lesconil Lent by Georges Petit Galleries 59 Gray Dune Lent by Georges Petit Galleries 60 The Point of Lahuron Lent by Georges Petit Galleries 61 The Bay of Combrit ANDRE DAUCHEZ 41 The City Art Museum St. Louis LOUIS DEJEAN (Sculptor) Louis Dejean was born in Paris, in 1872. After having studied for a short time under Charles Gautier and later at the Ecole des Arts-Decoratifs, he branched out for himself and has confined himself almost entirely to the genre of the small, delicately-traced figure. He has been a medallist since his second exhibition, in 1900. Almost entirely, his models have been Parisian types — the boulevardier, the street gamin, the professional model, the actress of the cafe-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 exhibitions 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 remark- able artist ceaselessly preoccupied with enlarging his scope and attaining his style without sacrificing his quickness of impression. 62 April (Bronze) 63 The Woman and the Source (Wax) CHARLES-ALBERT DESPIAU (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. 64 Torso of a Bacchante (Bronze) HENRI DUHEM 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 exhibi- tions, both French and foreign, for twenty-seven years. He was awarded a medal. Exposition Universelle, Paris, 1900. Membre-Societaire de la Societe Nationale des Beaux- Arts, Paris; the Societe Nouvelle, Paris; Chevalier de la 42 Exhibition of the Societe des Peintres et des Sculpteurs 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. 65 The Flock passing the Road, at the rise of the Red Moon 66 The Locks in Sunset HENRI DUHEM 43 The City Art Museum St. Louis WALTER GAY Walter Gay, one of the American members of the Societe 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, WALTER GAY 1895; Budapest, 1895. Officer of the Legion d’Honneur. Represented in the Pinaceothek, 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 Societe Nationale des Beaux- Arts; Royal Society of Water Colors, Brussels; Societe Nouvelle, Paris; 44 Exhibition of the Societe des Peintres et des Sculpteurs American Institute of Arts and Letters; Member of Com- mittee of Purchases, Administration Society 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 makes “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 confidence. For grasping the expression of a screen he has no equal, and even from a cracked flagstone pavement he draws what is almost a thought. 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 com- plained of not having reposed enough, had features like those of a face; an expression which changed according 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 vener- able objects, filled as they are with a life that has fled, are of greatest value while they now claim only a passing gayety. The City Art Museum St. Louis Through the deep windows of an old chateau of France pours the light, curious, touching everything. It glances at the candelabra, 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 can- vases 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 collec- tions. The Luxembourg is fortunate enough to have won one of his best works and the Boston Museum has just acquired an important example. Both are included in the present exhibition. 67 Large Interior 68 Venetian Interior 69 Interior of Chateau of Petit Trianon, Ver- sailles 70 Chateau de Breau 71 Small Inter for: The Green Bed 72 Interior Lent from the Luxembourg Gallery, Paris, through the courtesy of Leonce Benedite, Director, and the French Government 73 Palazzo Barbaro, Venice Lent by the Museum of Fine Arts, Boston ANTONIO DE LA GANDARA 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 produces some charming drawings. Previously he has done some little pic- tures of the Luxembourg gardens and the Parc 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. 74 Portrait of Miss D 75 The Palace of Justice 76 View from the Luxembourg 46 Exhibition of the Societe des Peintres et des Sculpteurs EUGENE LAGARE (Sculptor) Eugene Lagare, born in 1870, is a sculptor who has exhibited some notable works in bronze and plaster, espe- cially at the Salon of 1906. He is today considered by Rodin one of his most promising pupils. 77 Biblis Lent by Professor Rene Cheruy, Hartford, Conn. 78 Bust of Walter I. Schulz (Bronze) Lent by Walter I. Schulz, Esq., Hartford, Conn. 79 Sphinx giving way to the Genius of Man 80 Head of a Young Girl GASTON LA TOUCHE Gaston La Touche was born at Saint-Cloud in 1854. He is self-taught. Awarded medals: Salon Hors Concouis; Exposition Universelle, 1900; Grand-Prix, Venice; Barce- lona; Munich; and the Carnegie Institute, Pittsburgh. Officer of the Legion d’Honneur. Represented in the col- lections of the Luxembourg, Brighton, Venice, Rouen, Brus- sels, 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 work, 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 Societe Internationale des Peintres a l’eau; member of the Franco-American Institute; member of the Delegation of the Societe Nationale des Beaux-Arts; and a member of the Imperial Consul des Beaux-Arts; Societe des Aquarellistes Hollandais; Societe Royale des Artistes Beiges, and the Societe Nouvelle of Paris. Gaston La Touche’s ancestors came from Normandy. Here above all other places still lingers the influence which Marie Antoinette had exerted during her lifetime — the love of sylvan scenes, fetes 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 speak- ing to us from his canvases. 47 The City Art Museum St. Louis In spite of La Touche’s talent and love for painting his parents were opposed to his becoming an artist and endeav- ored 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 following his chosen profession. Self- taught at first, he worked frantically and in 1875 made his debut at the Salon as a sculptor, exhibiting a medallion. GASTON LA TOUCHE 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 1890 he joined the Secessionists, led by Meissonier and Puvis de Chavannes, and exhibited at the new Salon of the Societe Nationale des Beaux-Arts. In our admiration of his work we do not separate his decorative panels from his paintings, of which a list would 48 Exhibition of the Societe des Peinters et des Sculpteurs 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. 81 82 83 84 85 86 87 88 Landscape — River Bank Vision Antique (Exhibited in Salon, 1911, under title of "Innocence”) The Betrothed The Visit of the Princess Roy ale Landscape Lent by Victor Harris, Esq., New York A Pardon in Brittany Lent by Victor Harris, Esq., New York Mischief Lent by Mrs. Spencer Kellogg, Buffalo Saint Marks, Venice Lent by Mrs. Porter Norton, Buffalo HENRI-EUGENE LE SIDANER Henri-Eugene Le Sidaner was born at Port Louis, Mauritius, in 1862. He comes from a Breton family. Member of the Societe Nationale des Beaux-Arts, Paris; the International Society of Sculptors, Painters, and Gravers, London; and of the Societe 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 Libbey, Esq., Toledo, and Mrs. W. R. Taylor, Rochester, N. Y. Awarded medal of the third class, Paris. 1891; bronze medal. Exposi- tion Universelle, Paris, 1900; honorable mention, Carnegie Institute, 1901, medal of the second class, Carnegie Institute, Pittsburgh, 1906. 89 Bee-hives Lent by Georges Petit Galleries 90 Sunlight on a Red Temple Lent by Georges Petit Galleries 91 The Faubourg Lent by Georges Petit Galleries 92 Evening in the Village Lent by Mrs. Spencer Kellogg, Buffalo 93 Morning Lent by Mrs. E. D. Libbey. Toledo 94 Little Twilight Lent by Professor James Mavor, Toronto 49 HENRI EUGENE LE SIDANER 50 Exhibition of the Societe des Peinters et des Sculpteurs HENRI MARTIN At the opening of the Salon of 1883, three pictures attracted much attention, “Andromaque,” by Georges Roche- gresse; “Saint Julien l’Hospitalier,” by Aman-Jean; and “Francesca da Rimini," by Henri Martin, a young artist, until this time practically unknown. He was born 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 himself which he has since filled with such distinction! 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 commerce. At the end of that time, however, his family, understanding that his vocation was irresistible, decided to consent to his wishes. He then entered the Ecole des Beaux-Arts at Toulouse; 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 Franqais a picture called “Le Desespoire,” and in 1883 his “Francis a 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 the vigorous originality with which his later work made us familiar. In 1864, however, with his “Cain,” he gave voice to the spirit of seer and poet. He went to Italy, visited with enthusiasm her churches and museums, revelled in her wealth of color. He centered his admiration cn 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 contempla- tion than observation and he began following his desire to interpret the poets. Dante inspired him with the subject “Chant XXXIII 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. At the age of twenty- eight he had won a success which his elders might well have envied. In 1889 he exhibited “La Fete de la Federa- tion,” a large canvas which excited much discussion, upset- ting, 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 Musee de Carcassonne. He is noted for his “L’lnspiration” 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 “Serenite” drew from Puvis 51 The City Art Museum St. Louis HENRI MARTIN 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: har- monious and luminous landmarks on the route of art. He is a member of the Societe des Artistes Frangais; of the Societe Nationale des Beaux-Arts; and of the great Societe Nouvelle, Paris. Represented in the Luxembourg, Paris; Museum of Painting and Sculpture, Bordeaux; Museum of Amiens; Lyons; Museum of Fine Arts, Toulouse, Marseilles, Carcassonne, 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, 1900; Officer of the Legion d’Honneur, France, 1893; Hors Concours, Societe des Artistes Frangais. 95 Village in Spring 96 The Pergola 97 An Old House 98 Under the Trees 52 Exhibition of the Societe des Peintres et des Sculpteurs EMILE-RENE MENARD Emile-Rene Menard was born in Paris in 1862, in a cul- tivated and literary circle. He is himself a spirit of great culture. Under the influence of his father and his uncle, the philosopher, Louis Menard, 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 Academie 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 clay walks with more assured step, that of portraiture and The City Art Museum St. Louis of synthetic 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 antiquity and furnished him with the subjects of his beauti- ful pictures, “Historiques d’Agrigentz" (1890) and “Terre Antique" (1901). Since 1900, Rene Menard 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. Mem- ber of the Societe Nationale des Beaux-Arts, Paris; the Societe Nouvelle, Paris; and the Societe des Pastellistes Francais. Represented in the Luxembourg, and in the Musee de la Ville, Paris, Museum of Fine Arts, Toulouse, France; Museum of Stockholm; Carnegie Institute, Pitts- burgh, 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 Emile Rene Menard 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. 99 Hylas 100 Bucolique 101 Sunset on the Corsican Coast 102 Setting Sun Lent by Georges Petit Galleries 103 The Coast of Normandy Lent by Georges Petit Galleries 104 Twilight Lent by Victor Harris, Esq., New York 105 The Rainbow Lent by Victor Harris, Esq., New York 106 Sea and Cloud Lent by Victor Harris, Esq., New York 107 The Swamp Lent by William H. Sage, Esq., Albany The Judgment of Parts Lent by Carnegie Institute, Pittsburgh 108 Exhibition of the Societe des Peinters et des Sculpteurs JAMES WILSON MORRICE James Wilson Morrice was born at Montreal, Canada. He is a Canadian artist who went not long ago to settle in Paris. He is not an original member of the Societe Nouvelle, but this new recruit is one of the most interesting and characteristic painters of the group, and bis works JAMES WILSON MORRICE immediately attract attention by reason of their striking coloring and beauty of technique. He is represented in the Luxembourg, Paris; Pennsyl- vania Academy of the Fine Arts, Philadelphia; Palace of Arts, Lyons, France; and in the private collection of D. R. Wilkie, Esq., Toronto, and many private collections in The City Art Museum St. Louis Montreal. Member of the Societe Nationale des Beaux-Arts, and of Salon d’Automne, Paris; International Society of Sculptors, Painters, and Gravers, London; and the Societe 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 anecdotal compositions, before which assemble the mob, more sensitive 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 mas- ters, he began twenty years ago 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 carefully realistic analysis of his first works gave place to a synthesis, broad, rhythmic, and always well considered, which of late years is the only sense of beauty which has guided him. 109 The Place Chateau Brigand, St. Malo Lent by the Mount Royal Club, Montreal 110 St. Georgio, Venice Lent by James Reid Wilson, Esq., Montreal 111 Clarenton Lent by Arthur Morrice, Esq., Montreal 112 The Ramparts. St. Malo Lent by David Morrice, Esq., Montreal 113 On the Grand Canal, Venice Lent by Mrs. Newton MacTavish, Toronto 114 On the Beach Lent by Daniel R. Wilkie, Esq., Toronto The Circus Snow Scene, Canada Canadian Village 115 116 117 56 Exhibition of the Societe des Peintres et des Sculpteurs JEANNE POUPELET MADEMOISELLE JEANNE POUPELET (Sculptor) Mademoiselle Jeanne Poupelet was born at Bordeaux, France. She was awarded bronze medal, Exposition Univer- selle, Paris, 1900; Bourse de Voyage from the Government in 1904; Secretary of the Societe Nationale des Beaux-Arts, Secretary of the Salon d'Automne, and member of the Societe Nouvelle, Paris. 118 Duck 119 Rabbit RENE-XAVIER PRINET Rene-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, Societe des Artistes Frangais, 1888; gold medal, Exposition Universelle, Paris, 1900; Knight of the Legion d’Honneur, France, 1900; Asso- ciate Member of the Societe Nationale des Beaux-Arts, and 57 The City Art Museum St. Louis of the Society of Painters and Sculptors, Paris. Repre- sented in the Luxembourg, Paris; Museum of Gothenburg; Museum of Nancy; Museum of Bordeaux; Museum of Hel- singfors; Museum of Vesoul; Museum of Gray; Museum of Brussels; collection of Prince Leopold of Bavaria. 120 The Amazons 121 The Ferryman 122 Woman in Brown JEAN-FRANCOIS RAFFAELLI Jean-Francois Raffaelli was born in Paris, April 20, 1850. While still young his father lost his fortune and the lad was 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 occupa- tions, 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 dis- covered a world new to art. At this time affiliated with the impressionists, he partici- pated in some of their earliest expositions. But soon he separated from them, the better to follow out the path which he has since fashioned for himself. In 1884, he organized an exhibition of his works; in the preface 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 Con- tennal de l’Art Frangais 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. JEAN-FRANCOIS RAFFAELLI 59 The City Art Museum St. Louis 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, Expo- sition Universelle, Paris, 1900. Member of the Societe Nationale des Beaux-Arts and of the Societe des Artistes Franqais, Paris; Secession Society, Vienna; Secession Society, Berlin; and the Societe Nouvelle, Paris. Repre- sented 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 Knoed- ler, Esq., Georges Durand-Ruel, Esq., New York, and Mrs. W. S. Kimball, Rochester, New York. 123 Les Champs Elysees, Paris 124 Les Champs Elysees Lent by Messrs. Knoedler & Co., New York 125 Landscape Lent by Durand-Ruel & Son, New York AUGUSTE RODIN (Sculptor) Auguste Rodin was born 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 Ecole de Medicine, 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.” 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 Carriere-Belleuse and remained with him six 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 Ecole 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 whicn, 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 w^hich enabled him to And himself intellectually, and to live quietly and 60 Exhibition of the Societe des Peintres et des Sculpteurs 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, aston- ished and perplexed by the wonderful accuracy of the modeling in the work of an “unknown,” accused the sculp- tor of having cast his statue from the mold of a living figure. Rodin protested indignantly, aided by three sculp- tors, Desbois, Fagel, and Leferre; critics took up the ques- tion, 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 centuries before. 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’Univer- site; nor have occasional trips to London, Prague, Germany, and Italy, interferred 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 of antiquity, nor of late years has France refused him her entire sympathy and support, with the disconcerting excep- tion of the Balzac of 1897. In 1900, his entire works were collected under a separate pavilion, at the exhibition of the Bond-point de l’Alma, and his position was at once re- affirmed 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 Societe 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 uncon- nected with any official or civic position. He is surrounded by the warm and sympathetic devotion of many of the younger artists, some of whom are his pupils, distinguished 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 — Cl The City Art Museum St. Louis And it is in this combination of superb and touching ideal- ism (to which in his modesty and, perhaps, suspicion, he lays no claim) with 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 him- self 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 changing outline actually in flight. 126 Danaide (Marble) Lent by Cottier & Co., New York 127 The Sphinx (Marble) Lent by Mrs. Eugene Meyer, New York 128 The Kiss (Bronze) Lent by Mrs. Eugene Meyer, New York 129 Bust of Mirabeau (Bronze) 130 Bust of Dalon (Bronze) 131 The Hand of Man (Bronze) Above three bronzes personally sent by Mon- sieur Rodin to the present exhibition 132-137 Six drawings Lent by Mrs. Eugene Meyer, New York 138 Colored Drawing Lent by Mrs. Porter Norton, Buffalo LUCIEN SIMON Lucien Simon was born in Paris, July 18, 1861. His family belonged to the refined and well-to-do bourgeoisie 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 bells, to which during the spring-time were joined the cries of the swallows. In this quiet environment his infancy was passed. LUCIEN SIMON 63 The City Art Museum St. Louis When he was old enough to receive instruction he went first to school and later to the Lycee Louis-le-Grand. During his school career his tastes led him quite as much toward a literary as an artistic life, and he thought seri- ously of following the scientific career of his brother Eugene Simon, who had already made a name for himself as a naturalist. However, he had at this time the misfortune to lose his father, and being allowed by his mother free- dom in his choice of a career, decided to devote himself to painting. Already Jules Didier had given him some les- sons; and now he enrolled himself as a pupil at the Academie Julian. Not long, however, did he continue there, for, making the acquaintance of Rene Menard 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 Maupas- sant 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 apres la Fortune” and several other important works. In 1890, he married the sister of Andre Dauchez; his young wife appre- ciated art in all its phases, and made the former studio of her husband a home as well as a workshop 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 expressed 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 Frangais for the Societe 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 Societe 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 Societies at Berlin Munich, and Vienna. 64 Exhibition of the Societe des Peintres et des Sculpteurs 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. 139 Comedy 140 Summer Day Lent from the Luxembourg Gallery, Paris, through the courtesy of Leonce Benedite, Director, and the French Government 141 Breton Inn Lent by Hamilton Easter Field, Esq., New York 142 A Head Lent by John W. Alexander, President of the National Academy of Design, New York PAUL TROUBETZKOY (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, nee 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 of form and color. The boy’s artistic instincts manifested themselves 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 essen- tially 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 The City Art Museum St. Louis of 1900. Represented in both the Italian and Russian sec- tions, Prince Troubetzkoy’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 mas- ters 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’Honneur since 1900, has won gold medals in Rome, Dres- den, Berlin and elsewhere, and figures in the permanent galleries of such cities as Rome, Leipsig, Berlin, Milan, Dresden, Moscow, St. Petersburg, Paris, San Francisco, and Buffalo. He is furthermore a member of the Societe Nationale des Beaux-Arts, the Societe Nouvelle, the Societe du Salon d’Automne in Paris, the Dresden and Munich Secession Societies and the International Society of Sculp- tors. Painters, and Gravers, in London. He exhibited at the Paris Exposition of 1900, the Autumn Salons of 1904 and 1909, and in Venice the same year. In order to complete the chronolgy of Prince Troubetz- koy'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 monuments, by two versions of his “Indian Scout,” and five additional pieces, some of which were later purchased for the Golden Gate Art Museum of San Fran cisco. Considering his position and reputation in Paris, it would have been singular had the art of Prince Troubetzkoy re- mained unknown to those Americans who habitually fre quent the French 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 natur- ally proved sympathetic subjects— his mother, of whom he has executed a delicate and penetrating seated likeness, and his sister-in-law, Princess Amelie Troubetzkoy, nee Reeves, wife of the portrait-painter who has, for the last few years, made his home in New York. 143 Portrait of Baron Rothschild (Bronze) 144 Portrait of Monsieur Errazuriz and his Daugh- ter (Plaster) 06 Exhibition of the Societe des Peintres et des Sculpteurs 145 Portrait Statuette of Gabriel D’Annunzio (Bronze) 146 Portrait Statuette of Auguste Rodin (Plaster) 147 Portrait Statuette of Monsieur Xelidow (Plas- ter) 148 Young Woman Seated with Dog (Bronze) 149 Indian on Horseback (Bronze) 150 Cowboy on Horseback (Bronze) 151 Indian at the Side of his Horse (Bronze) 152 Indian Standing (Bronze) RAOUL-ANDRE ULMANN Raoul-Andre Ulmann was born in Paris. 1867. Studied in Paris. Represented in the collections of the Musee de Luxembourg; Musee de Bayonne; Musee de Saint-Etienne; Memorial Hall. Philadelphia; Pennsylvania Academy of the Fine Arts, Philadelphia; Musee de Carnavalet. Mem- ber of the Societe Xationale des Beaux-Arts. and the Societe Xouvelle, Paris. 153 Evening on the Zaam Lent by Georges Petit Galleries 154 The Quai Lent by Georges Petit Galleries Foggy Morning Lent by Georges Petit Galleries 155 The City Art Museum St. Louis NON-MEMBERS OF THE SOCIETE NOUVELLE EMILE BOURDELLE (Sculptor) Emile Bourdelle was born at Montauban in 1861. Studied first at Toulouse, then under Rodin. Represented in the Berlin Museum. 156 Head of Beethoven GEORGE DESVALLIERES George Desvallieres was born in 1861 at Paris and studied under Delaunay and Moreau. His first exhibition at the Salon was as early as 1883, and in 1894 he won a second medal by two portraits of women. He is represented at Nimes, Bordeaux, and by several pictures in the Luxembourg. Desvallieres’ work is simple in conception and execution, and pleases by its directness and sureness of touch. His picture of “Rolla,” for example, fits his tormented and melancholy imagination, and also his group of “Christ and Magdalene,” with its desolate rusty color, its falling lines, its gestures of refuge, protection, 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, which 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. 157 Girl in Black 158 Corner of an Antichamber 159 Nudes The foregoing three pictures are lent through the courtesy of M. Leonce Benedite, Director of the Luxembourg- 160 The Seamstress Lent by Hamilton Field, Esq., New York 68 Exhibition of the Societe des Peintres et des Sculpteurs FIX-MASSEAU (Sculptor) (No biographical data at hand.) 161 Head of Beethoven Lent by Victor Harris, Esq., New York LOUIS- AUGUSTE LEPERE Born in Paris, 1849. 162 Landscape Lent from the Luxembourg Gallery, Paris, through the courtesy of Leonce Benedite, Director, and the French Government 70 RENE-XAVIER PRINET 71 LOUIS AUGUSTE LEPERE 72 Portrait of the Marquis of Granby 73 HENRI MARTIN 74 HENRI DUHEM 65 The Flock Passing the Road, at the Rise of the Red Moon Lent by Georges-Petit Galleries 76 JAMES WILSON MORRICE 139 Comedy LUCIEN SIMON 77 u z s Oh w X H b O H 35 > w ffi H 78 GASTON LA TOUCHE 79 ANDRE DAUCHEZ 80 EMILE CLAUS 81 Lent by Cincinnati Museum Association 82 Lent by the Mount Royal Club. Montreal GEORGE DESVALLIERES 157 Girl in Black 83 84 RAOUL-ANDRE ULMANN PAUL ALBERT BESNARD 16 Portrait of Ex-Senator William A. Clark Lent by William A. Clark, Esq, 85 PRINCE PAUL TROUBETZKOY 145 Portrait Statuette of Gabriel D’Annunzio (Bronze) 86 ANTONIO DE LA GANDARA 74 Portrait of Miss D. 87 88 EMILE-RENE MENARD JOHN^W. ALEXANDER At the Window 1 90 Lent from the Luxemburg Gallery, Paris MLLE. JEANNE POUPELET 119 Rabbit. (Bronze) 91 ■ 92 CHARLES COTTET EUGENE LAGARE 80 Head of a Young Girl 93 LOUIS DEJEAN 63 The Woman and the Source (Wax) 94 CHARLES ALBERT DESPIAU 64 Torso of a Bacchante (Bronze) 95 INSTALLATIONS IN THE ART MUSEUM CURRENT SPECIAL EXHIBITIONS Exhibition of Works by Members of the Societe des Pein- tres et des Sculptenrs galleries 18, 19, 30 and 31 Central American Antiquities (Expedition of the St. Louis Society of the Archaeological Institute of America), .gallery 12 OTHER COLLECTIONS Paintings lent by Mr. George B. Leighton gallery 14 Paintings belonging to the W. K. Bixby American Art Acquisi- tion Foundation gallery Other paintings, in galleries 16, 32, 2, 3, 6, 7, 14, 15, 22, 23 and Drawings and sketches galleries 4, 6 and 9 Etchings by Joseph M. Pennell and C. F. W. Mielatz. . . .galleries 20 and 25 Arundel prints, of masterpieces of painting gallery 1 Greek sculpture galleries 17 and 24 Roman and Renaissance sculpture gallery 8 and northwest alcove of central sculpture hall. Modern sculpture, principally installed in the central sculpture hall. Antique and classic bronzes, installed decoratively in various galleries. Egyptian and Assyrian antiquities, including sculpture gallery 21 Medallions in cases gallery 1 Japanese and Chinese Art, chiefly in ...galleries 6 and 7 also galleries 13 and 1 Metal work, chiefly in gallery 29 also galleries 15 and 1 Pottery, etc., chiefly in gallery 13 Glass ...galleries 13 and 20 also galleries 21, 23, 1. 6, 7, etc. St. Elizabeth Mosaics (presented by Mr. Adolphus Busch, 1905) central sculpture hall Fabrics, etc., chiefly in galleries 29 and 7 also in Indian and other collections. American Indian Handiwork— The Dyer Collection galleries 5, 4 and 9 The Andrews Collection and other exhibits galleries 1 and 4 Louisiana Purchase Exposition Memorial Collection, lent by Hon. David R. Francis galleries 10 and 11 Architectural models, etc galleries 17 and 8 and central sculpture hall.