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Figure pictures are prominent in the Exhibition of the Societe des Artistes Francais, held in the Grand, Palais of Paris recently. The figure subjects, like Imost other features of the Ex- thibition, are in considerable
diversity." Quits a number of the figure painters have evidently allowed zeal to run away with discretion in their efforts to something novel and striking in the way of pose. The result is often grotesque, and suggests more than anything else the contortionist. In some
other on the
hand. there is a gracefulness and flow of line combined with freedom from the conventional which, natural and convincing in its arrangement, produces an altogether pleasing effect. Such. for example, is the study of the nude figure of a girl playing ‘a flageolet in a half-sitting posture by E Fougerat, which he en- titles Hommages aux Vaio queurs." The dispositions of the figure is well balanced and graceful, and fills the canvas satisfactorily without overcrowd- ing. Other painters Fave aimed rather at rendition of character, combined with decorative effect,} than the purely decorative dis- position of the figure. One of the best examples of the latter class is the Mauvais Jour, 1918," by Jules Grin. Pro- minent in the foreground of a street scene are a Frenchwoman
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a number of pictures) | whose subject la not peace, but war. One of these is "A Room at Verhin in April 1917, by Hann Ommer. It forms an interesting example of msaner triumphing over material. For while the subject is a wrecked room, it] is presented in quiet, harmonious tones that give a pleasant restful effect. The colour, in pale green, yellow, and purple, is sweet and cool. A more opulent effect is presented in the "Marine" of Charles R. Darrieux, an årrangement of rocks bathed in warm light, rendered with a mosaic-like technique, and a *turquoise" sea, a touch of red carried by the sail of a fishing boat in the distance having its tine effect in the colour scheme. A vigorous seascape, with a sense ||of movement, and also rich in colour, is Charles Signoret's "Return of the Boats"-clouds, 868, and listed fishing vessels Thaing
the presented in heroic vein.. An interesting jexample of modern” tendencies, which stops short of the wilful eccentricities of some of the extremists represented in the ||Exhibition, is "Ls Quai des Dames, La Rochelle," by Gaston Balande. The sails of the boats. [in violent-reds, yellows, or pinks. the blue figures of the sailors on the quay, and the pale green sea beyond, combine in s powerful jeffect of sunshine, and open air. The angular drawing of the group. of sails in the centre, while lend- ing forcefulness to the lines of construction, is not.so obtrusive fand, to the extent that is destroys conviction, repellant as in some of both arms negligently thrown the other pictures in which cubisti wearing a black and white paided against a delicately toned in the Exhibition several interes over the back of a chair, is paint-influence is apparent. There are shawl, and her small boy, whom background in pale rose and paleting renditions of still life in she holds by the band. There
purple. are remarkable delicacy and force in the rendering of the boy's face, with its bright and alert expres- sion. The 1918" feature of the picture consists in the blue
uniform of soldiers in the back- ground. The decorative effect .s striking without being over. jobtrusive, and the colour is bold and at the same time harmonious. The picture is a forceful rendering
of an ordinary street effect free
from any anecdotal divergation or subjective sentimentality.
There is, on the other hand, an obtrusive suggestion of the pose in the. "Portrait of Madame L in Turkish Costume," by Fer- dinand Humbert, member of the Institute, which is prominent in one of the rooms, and one of five portraits by the same artist. A feeling of constrain is almost suggested on the part of the lady as appearing in a costume for which her personality suggests no affinity. An adventitious aid to the Turkish atrapsphere is the introduction of the crescent moon in the decorative background. - Much
more convincing and attractive is M. Humbert's portrait of Madanie Lefebvre-Glaize. an elderly, white-haired lady in black lace dress, whose suave, kindly, and mellow personality is rendered with admirable simplicity and sympathy. Gustave Pierre's large figure picture, "Mouvemen: de Troupes," has striking and original features, and is piquant and arresting rather than aliar- ing. The pale-blue of the French Boldiers' uniforms dominates the
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la Lesion and in the Fecadal Tewar and
position and tenue of the crowding. figures which produce an un usual and to some extent stimulating result. The two lines of troops passing in opposite directions are disposed with a curious diagonal effect of cém- position; the same face is re-
different manners--including Ed- Societe des Artistes Francais mussels, crab, and lemon, in Some of the landscapes of the mod Suau's arrangement of have been mentioned in a previous which black plays an important article. One that has distinct part in the colour effect, and Terre," by P. Montezin, a low- articulate and character and feeling is "La Mdlle. M. G. Royer's less more imagina- toned harmony in grey, green, tive
"Nature rendering of brown and black. More assertive Mare. The decorative in tone is "La Paix," by Claude motive, in One example zures, partly veiled by the smoke overflowed the canvas into the Bourgonnier, a harvest field with Iria d'Ean." by E. Quost, has
mid-day meal. The picture con- to echo the yellow lilies and the of a camp fire, gathered for a frame, which is in blue and gold
veys an impression of warmth blue background the picture- and spaciousness. There are 'The Setsmän.
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canvas and the faces are all turned to concentrate on the spectator. An effect is produced which subtly conveys crowded movement and disciplined order: more forcefully than would be possible with a more liberál treat- ment of the subject. More ob jectively and directly realistic is
Le Poilu de la Lauch," by J. F. Bouchor, a soldier on sentry duty in a snowy setting which feels cold and desolate. Another figure picture, idealistic and classicalin feeling rather than modern and realistic, bat relating the
LONDON DIRECTORY, classical idea to moderu. ex- istence, is. "Les Amours," by Joseph-Marins Avy. The spac ing of the picture is an im- portant element in its effect A lady with a green turban head- dreea and, rose-coloured shawl over a grey, costume, with her companion, who carries a guitar both figures in their attire and
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