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Two Segantinis, a drawing in chalk and pastel; Storm Van's Gravesande; seven Troyons, one, Le retour du Marché, a masterpiece; Vollon, still-life, fish, ivory goblets, violets; Weissenbruchs; Zilcken etchings and two De Zwarts.
Bastien-Lepage has a preparatory sketch for Les Foins. Indeed, the Mesdag Museum is rich in frottis, painted-in pictures, by such men as Rousseau, Daubigny, Diaz, Vollon, Millet, Dupré. As we admire the etchings of Mari Bauer, it was a new pleasure to see half a dozen of his paintings, chiefly scenes in the Orient.
But in company with less conspicuous though equally unacceptable pieces by such men as Bracquemond, Cazin, Fantin-Latour, Harpignies, Jongkind, J. P. Laurens, Le Gros, Pissarro, Vollon, and Whistler, it was accorded an exhibition, alongside the official Salon, which was called le Salon des refusés.
Chardin, on the other hand, is the one distinguished exception to the general character of French art in the artificial and intellectual eighteenth century. He is as natural as a Dutchman, and as modern as Vollon. As you walk through the French galleries of the Louvre, of all the canvases antedating our own era his are those toward which one feels the most sympathetic attraction, I think. You note at once his individuality, his independence of schools and traditions, his personal point of view, his preoccupation with the object as he perceives it. Nothing is more noteworthy in the history of French art, in the current of which the subordination of the individual genius to the general consensus is so much the rule, than the occasional exception now of a single man, now of a group of men, destined to become in its turn a school the occasional accent or interruption of the smooth course of slow development on the lines of academic precedent. Tyrannical as academic precedent is (and nowhere has it been more tyrannical than in French painting) the general interest in æsthetic subjects which a general subscription to academic precedent implies is certainly to be credited with the force and genuineness of the occasional protestant against the very system that has been powerful enough to popularize indefinitely the subject both of subscription and of revolt. Without some such systematic propagandism of the æsthetic cultus as from the first the French Institute has been characterized by, it is very doubtful if, in the complexity of modern society, the interest in æsthetics can ever be made wide enough, universal enough, to spread beyond those immediately and professionally concerned with it. The immense impetus given to this interest by a central organ of authority, that dignifies the subject with which it occupies itself and draws attention to its value and its importance, has,
Certainly the still-life of Cézanne's is the only modern still-life that may be compared to Chardin's; not Manet, Vollon, Chase has excelled this humble painter of Aix. He called the Écoles des Beaux-Arts the "Bozards," and reviled as farceurs the German secessionists who imitated him.
<b>ACHILLE-FOULD, MLLE. GEORGES.</b> Medal, third class, Versailles, 1888; honorable mention, Paris Salon, 1894; medal, third class, 1895; medal, second class, 1897; Hors Concours; bronze medal at Paris Exposition, 1900. Officer of Public Instruction; member of the Société des Artistes Français. Pupil of Cabanel, Antoine Vollon, and Léon Comerre. A painter of figure subjects and portraits.
Fancy Vollon flowers in the midst of these old Dutchmen. The Frenchman had an extraordinary feeling for still-life, though more in the decorative Venetian manner than in Chardin's serene palette, or the literalism of Kalf. Whistler's Effie Deans, presented by the Dowager Baroness R. van Lynden in 1900, is not one of that master's most successful efforts.
Ingres was born in 1780, Gericault in 1791, Corot in 1796, Delacroix in 1798, Diaz in 1809, Dupre in 1812, Rousseau in 1812, Jacques in 1813, Meissonier in 1815, Millet in 1815, Troyon in 1816, Daubigny in 1817, Courbet in 1819, Fromentin in 1820, Monticelli in 1824, Puvis de Chavannes in 1824, Cabanel in 1825, Hervier in 1827, Vollon in 1833, Manet in 1833, Degas in 1834.
Behind them the mother walked, with a rake slung over her shoulder, her short skirts and scant draperies giving to her step a noble freedom. The brush of Vollon or of Breton would have seized upon her to embody the type of one of their rustic beauties, that type whose mingled fierceness and grace make their peasants the rude goddesses of the plough.
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