FRENCH WAR PICTURES

Dominion, Volume 11, Issue 307, 16 September 1918, Page 6

FRENCH WAR PICTURES

INTERESTING EXHIBITION IN v WELLINGTON FOR A GOOD CAUSE There was not such a, largo attendance at tho New Zealand Academy of Fine Arts on Saturday afternoon as the splendid collection of oil paintings, etchings, black and white and crayon drawings by French soldier-artists merited. Without any doubt whatovor AIM. Willy Rogers and Bigiusssi have introduced to the Wellington public a new anil particularly vivid class of modern i:rt, much of it nlivo with the sting, tho melancholy, and tho drama _ ot' w'nr. Most of tho pictures aro either Heroic or sad in mood —but, almost without exception, they reflect some phase of the great war ns seen with French eyos, and that those eyes have keen perception and aouto imagination tho collection testifies. The pictures have been painted either by artists of noto who havo sorved in a military capacity or who «ro unfitted for such rough work. Now they paint for France—and Franco sells tho product for the benefit of her blind soldiers. Up till a year ago littlo attention could be paid to tho blind soldiers of France, as tho country had its hands full stemming tho Hunnish flood, but with a glint of better times to be, France Ims bethought her of what is due to her blind heroes, and one of the results is tho visit to Now Zealand of MM. Rogers and Bignzzi (both of whom havo served on the Western front). In introducing His Excellency tho Governor-General, tho Mayor (Mr. J. !.'. Luke, M.P., C.M.G.) said that they were deeply indebted to hirn ifor coming to the opening, and, by so doing, showing his appreciation of the collection of pictures which had been brought to Wellington by tho two visitors. Tho pictures depicted very ably the harrowing scenes of war in France and Belgium, and it was tho mission of M. Uogers and M. Bigazzi to sell them in order to build up a fund for tho relief the blind soldiers of Franco. There wore, it was said, over 50,000 of these men, and lie was sure that in .'Now Zealand they would find that sympathy and generous impulse which generally applied in such cases not only manifested in the attendances at the exhibition, but in tho sales recorded, which good result would react as an incentive to thoso in other parts of New Zealand. (Applause.) His Excellency the Governor-General (who was accompanied by the Countess of Livorpool) said he was pleased to attend there that afternoon, as this was really tho first opportunity of the kind they had had of showing their gratitude to their great—perhaps the greatest—ally.- (Applause.) "The exhibition of pictures represented the first stage in the reconstruction of the nation, which was second only to tho problem of winning tho war. There were no. thinking people who believed that the end of the war would bo the end of all difficulty. In the case of Franco she had to do something for her blind soldiers, who numbered, he believed, over 55,000. He did not think that the succouring of the blind was so important as somo of the other questions, appalling as it was. It was not so great a problem as to how to deal with paralytics—a question all the nations at war had to face. No individual who could work liked to depend' on charity—but the blind had their claims, as they could no longer see the boauties.of nature, nor could they see their own work, no matter how good it might be. They truly deserved their charity and hearty sympathy. It was one of the big problems the Allies would havo to solve, and hero they had one of their greatest Allies coming amongst them in the hope of assisting the good work, in which he hoped they would be successful. Tho purpose of the exhibition brought it near to their hearts, as it was akin to our Red Cross work, and it was well to realise that the French were just as deeply interested in Red Cross work as we were.' His Excellency then declared the exhibition open. Mr. Willy Rogers said it was a great honour that the first gentleman of the land should be present. It was so hind, so good, of His Excellency to come, and the New Zealand people, tool There ■was no word he could think of to express his feelings. As a French soldier he could only ask him to shake' hands. "Fifty-five thousand blind soldiers will also thank you from the bottom of their hearts. (Applause.) A charge of 2s. is being made for admission ; men in uniform are free. A catalogue, sold at Is., is obtainable at the exhibition.

A GOSSIP ON THE EXHIBITS

(By Charles Wilson.) French art has always favoured military subjects, from the days when Horace Vernet, Raffet, Delarpche, Isabey, and others depicted the heroes and scenes of the Napoleonic campaigns down to those of Meissonier andde Neuville. Never have French artists put brush, pen, and pencil nobler use than in consecrating their talents to such a purpose as that for which this "Exhibition of the. Allies" lias been promoted. The objects of the exhibition were eloquently set forth on Saturday by His Excellency tho Gov-ernor-General. To attempt any detailed description of the oil paintings, watercolours, etchings, ■ and lithographic reproductions which Messieurs Roger and Bigazzi have brought- to New Zealand would take more space than is available, but a few gossipy notes on some of the more important exhibits may be of interest. The Raomaekers originals are, of course, the "clou," tho star attraction of the exhibition. The Dutch artist is possibly the' greatest geniuSj as a cartoonist, as a pictorial satirist, the world has yot known. How Gillray or Hogarth would have treated war subjects wo do not know. ■ Amongst lattcruay English satirical draughtsmen the Australian, AVill Dyson (especially in his "Kultur Cartoons"), comes nearest to Raemaekers; but Dyson himself would admit his indebtedness to the famous Dutehmati. E>'ery phase of war is represented in these splendidly powerful drawings. Not even Callot, in his famous "Miseries of AVar," or the inspired Spaniard, Goya, ever surpassed Raem'ackers in the profound poignancy of his pathos. , More than ono of the pictures has for subject the wanton, nay, deliberate, destruction wrought in so many peaceful French homos, from tho palatial chateau to the peasant's humble cottago, by the. latterday Huns. In too many instances the retreating apostles of "Kultur" wantonly destroyed tho most beautiful things. In ono of Botrel's songs, in his "Chants <lu Bivouac," tho owner of a, splendid chateau, temporarily tho residence of tho German Staff, sarcastically remarks; 1 La France a snbi les ravages Messiours, de trois hordes sauvagM • Goths, Ostrogoths, el: Visigoths; II lui manqiiait les Saligothe! Well may a disgusted poilu in ono of the drawings remark, "Co sont des sales yens, ces Prussians!" ("Thoy're a dirty lot, these Prussians!"). Not even tlio lowest type of African savago would do what certain Prussian soldiers —officers and men alike —have been deliberately bestial enough to do in the beautiful French homes they havo devastated. AVhat an ironical comment upon the proud boast of von Hertling that "Germany owes it to the world to spread her 'Kultur,' even by arms," is provided by the studiously yilo behaviour, of her soldioryl (

Steinlen, the Parisianised Swiss, who is probably the greatest modern master of black and white, a draughtsman whoso "line" iB as near to positive per-' fection as that of the late' Oharles Keeno or poor Phil May; the Steinlen who, in pre-war days, drew the street life of Paris as could no one else; the Steinlen whose pretty little "trottins" and "midinettcs" were so adorably graceful, whoso Manchisseuses and workmen of Montmartre were so familiar in the illustrated supplements to "Lo Gil Bias" aro so eagerly collected by connoisseurs of the great and only—is here represented by a number of superb drawings which will delight all lovers of art." It is to be hoped that one at least of these splendid sketches may be acquired for tho permanent collection of tho Academy of Jfino Arts. Most of the sketches aro single-figure studies of poilus—there is ono study "Lo Vieux Poiln" ("The Veteran"), which is a veritable masterpiece of draughtsmanship—but others show groups of 1 figures, and there are some strikingly pathetic studies of women and children. The work of M. Lucien Jonasis strikingly prominent in the exhibition. He contributes a number of oil sketches, vigorously-painted war scenes, trench Bcenes, troops attacking and on tlio defensive, the tanks in action, and so forth, and is also represented by a number of crayon sketches and studies. All display a virility and a sureness of handling which is markedly effective. M. Lament Gsell, a French artist whoso work has been reproduced in "The Studio" and "Colour," contributes a number of war pictures, the result, it is ovident, of work done in the actual firing ling. Unfortunately they .lave been omitted from the catalogue, but certainly should not be overlooked by visitors to the exhibition. Forain, tliat master of line, who before the war was admittedly the-great-est pictorial satirist in Paris, contributes a series of drawings in which' the masterly elimination ot' every lino or detail which does not really count should bo noted. in strong contrast to Forain's work are the large anil detailed etchings of Paiil ltenouard, an artist well known in linglahd. A long series of drawings by liim appeared in the "Graphio" in the 'nineties, and were greatly admired. Renouard's drawing, "The Biincl Soldiers," is at once an expression of true pathos and a masterpiece of bold draughtsmanship. Note, too, tho vivid reality of the fino drawing '"The Bench." In the drawings by Henri do Groux, whose. work before tho. war not infrequently dealt with gruesome,and tragic scenes, and was characterised at times by a distinct touch of what tho French call tbe macabre, the horrors of tho war are depicted with a relentless'and poignant realism. It is brilliant work this of Henri de Groux, but honestly, I would not care to live with one of these drawings. As records of war in its most repulsive aspects, they are, however, historically valuable. • It is with a feeling of relief that one tarns to the delicate, exquisitely refined drawings of M. Georges Scott. One drawing in particular makes strong appeal do mo. A poiJu in full kit is tramping wearily along a country road, a little village being suggested rather than actually indicated in the far background. This solitary figure, slowly, sturdily tramping along, is a veritable triumph of realism. A frame containing a number of small drawings by this artist should nob he overlooked. A large drawing in scjiia, by M. Levy . Dburmer,. entitled "The Blind Soldier at Home," was greatly admired on Saturday. M. Dhurnier's work is well known to readers of "The Studio," and as reproduqtions of this particular drawing are obtainable for a very few shillings, many copies will, I hope, remain in Wellington. A large oil painting, representing a Belgian mother nursing a child who has been cruelly mutilated by the savage Huns, will at once attract the attention of the visitor, and cannot fail to arouse a feeling of righteous indignation that the authors of the dastardly crime will probably go untraced and unpunished—by human justice. Another large canvas represents a num-' ber of French soldiers marching through a street. The artist, M. Chaineuse, lost his right arm early in the war, and, incredible as it may seem, this vigorously executed picture was painted with the left hand. In the centre of the picture is a "self-portrait" of the artist. The dominant note of the exhibition is the spirit of stern but calm and quiet determination with which the French armies, from general down' to humblest poilu, are imbued. Of tho gaiety, of the old French joviality, le gros rire Gaulois, of the pre-war days, there is there little evidence. Where there is. humour, it is bitterly ironical. "The satire is mordant, penetrating, "bitten in" like an etching. The old Gallic spirit of playfulness has disappeared before the all-dominant and horrible reality of war. To most rules, however, there are exceptions, and an agreeable contrast to the almost savage satire of Raemaokers, the unrelenting realism of'Jonas and Panni, will be found in the little collection of Poulbot's drawings just inside the door opening into the main hall. Before the war Poulbot, like Guillaumo and Forain, Gerbault, and other latter-day successors of the immortal Gavami and Oham, devoted his attention mainly to Parisian night life, the life of the cabarets of Montmartre. R.he c.f the Cafe d'Harconrt. or tbe Bullier balls. He was always frankly humorous, and his satire was less acidulated than that of Forain. Also, he occasionally delighted us with his adorable drawings of children. He is'here represented by a series of inimitably humorous drawings of French children, drawings the fine black and white line of which is agreeably varied by dainty little touches of colour. Here we see the French kiddies playing at war scenes, mimicking, with delicious drollery,, the bumptious deportment of the , hated B'oche, "playing nurses," "playing Joffro," "playing tanks," etc. One irresistibly comical sketch shows a naughty little gosso, who is approached by a wrathful parent, who clearly is about to administer a whipping to the delinaueiit. The latter, however, puts up fiis hands and cries: "Camarade, Mamau, Camarade!" Let us hope the threatened castigation was thus averted. There is a touch of the old Poulbotian humour in a drawing which shows a* youngster in an ecstasy of delight as ho sees a drunken Boche swilling off "grandfather's medecinc" —the exact charnct-ci of the medicine I will not specify 1 And again in a group of kiddies "playing nurse." One diminutive young lady is highly indignant because Julie or Marthe or Ernestine has "commandeered" the "absorbent cotton—"pour so fairo une poitrinc"—to give hor figure lho_ traditional nurse's physical proportions! Poulbot is still tho sad wag ho was in the old dayswheit he drew, for "Le Rire," "L'Assiette au Beurre," and similar mirth-provoking, if, at times, somewhat unedifying journals. On the stairs leading to tho upper gallery are a few—all too few I—reproductions of drawings by Hansi, who specialises in pictures of Alsatian children, in their quaint national costume. These kiddies are truly "des gnsses adorables," as our French friends 1 would say. In some of them is a note of naif humour which recalls the drawing of a well-known Wellington lady artist, whose delightful child studies are so deservedly popular.