FINE ARTS IN 1901. 



235 



miniatures, enamels, porcelain pictures, etc., 851; 

 sculptures, 668; engraving on medals and precious 

 stones, 84; decorative art, 298; architecture, 309; 

 engraving and lithography, 510. 



The honorary awards for 1901 are as follow: 

 Section of Painting: No medal of honor awarded. 

 First-class medal: Adolphe Dechenaud, for Por- 

 trait de Mon Pere, which was bought by the state. 

 Second-class medals: Emile Louis Thivier (for 

 Jephte), Henri Thierot, Karl Cartier, Raoul de 

 Pibrac, Georges Lavergne, Georges Haquette, 

 Laurent Jacquot-Defrance, Leon Richet, Mine. De- 

 billemont - Chardon, Henri Courcelles - Dumont, 

 Henri Zo, Henri Dabadie, Herman Hartwich (New r 

 York), Paul Hippolyte Flandrin. Third-class 

 medals: Frank Spenlove-Spenlove, Paul Michel 

 Dupuy, Edmond Richter, ^Itienne Mondineu, Gus- 

 tave Henri Mosler (New York), Mme. Delorme, 

 Georges Boisselier, Tancrede Synave, Andre Hum- 

 bert, Patrick Downie, Henry Caro-Delvaille, Wal- 

 ther Thor, Susan Watkins (California), Valentine 

 Pepe, Frangois Maurice Lard, Pierre Vignal, Leon 

 Bellemont, Maurice Moilset, Gustave Adolphe 

 Grau, Gaston de Burggraff, Othon de Faber du 

 Faur, Seymour Thomas (United States), Jules 

 Scalbert, Ernest Azema, Mile. Louise Lavrut. 



Section of Sculpture: No medal of honor 

 awarded. First-class medals: Euge"ne Jean Bo- 

 verie, for statue of Baudin and figure for a tomb; 

 Georges Recipon, for a plaster relief and a marble 

 bust. Second-class medals: Paul Auban, John 

 Goscombe, Anatole Guillot, Paul Ducuing, Al- 

 bert Ernest Miserey, Sylvain Salieres. Third-class 

 medals: Fernand David, Maurice Roger Marx, 

 Hans Schuler (Baltimore), Paul Ludovic Theunis- 

 sen, Julien Lorieux, Jean Baptiste Larrive, Ed- 

 ouard Paul Merite, Edmond de Lahendrie, Gabriel 

 Zimmermann, Jules Louis Rispal, Alix Marquet, 

 Xavier Barthe, Albert Schirrer. 



Section of Architecture : Medal of honor, Joseph 

 Albert Tournaire, Etat actuel et restauration des 

 fouilles de Delphes, bought by the state. First- 

 class medals : Jacques Hermant, Louis Albert Lou- 

 vet. Second-class medals: Henri Le Grand, Ern- 

 est Andre Thibeau, Louis Grandin. Third-class 

 medals: Charles Henri Lemaresquier, Marcel Au- 

 bertin, Georges Alexandre Closson, Louis Francois 

 Tavernier, Georges Dussart, Richard Bouwens van 

 der Boyen, fils, Jean Frederic Taillens. 



Section of Engraving and Lithography: Medal 

 of honor, Augustin Mongin, etching, Le Bapteme, 

 after JJendy Sadler. First-class medals : Engrav- 

 ing, Emile Jean Buland, Andre Charles Coppier; 

 etching, Victor Louis Focillon, Albert Ardail; 

 wood, Marguerite Jeanne Jacob-Bazin. Second- 

 class medals: Engraving, Julien Deturck, Jean 

 Vybond; etching, Henry Fabien AlasoniSre; 

 lithography, Marguerite Vernant. Third-class 

 medals: Etching, Mile. LSonide Bourges; wood, 

 Adolphe Dauvergne, Marie Marguerite Gaillard; 

 lithography, Emile Pierre Bertrand, Louis Huvey, 

 Eugene Mathurin Mage. 



Among the noteworthy exhibits was the por- 

 trait of Queen Alexandra, by Benjamin Constant, 

 whose large state portrait of Queen Victoria, ex- 

 hibited last year in the Paris Exposition, is 

 seen this year in the Royal Academy. The Alex- 

 andra is in direct contrast to the dramatic por- 

 trait of Victoria, and is intended to be a family 

 likeness a portrait intime from which all idea 

 of state is absent. It is a bust portrait, show- 

 ing the hands, and is in the ordinary costume of 

 the day. 



Leon Bonnat exhibited a portrait of M. Loubet, 

 President of the republic. He is represented, three- 

 quarters length, seated in a chair, with arms 

 folded, looking front. 



Legend of the 



,,.,, immense 



n-|.n -cuts the 



on' hi, I In-otic 



Georges Rochegrosse's Marvclou- 

 Queen of Saba and Kin<4 Solomon 

 triptych, the middle panel ol which 

 reception of the Queen by Solomon 

 and the left and right other episodes oi t he legend 



Marbot at Jena, by Emile Boutigny, n-prc^cut.-i 

 a scene described by Marbot in his Memoirs, in 

 which he rescues from drunken soldiers of ilc.-.-M-- 

 Darmstadt two beautiful young girls who, .scant- 

 ily clad, are crouching at the foot of a bed. 



Paul Gervais contributed Fete in Honor of Dac- 

 chus and Ariadne. Bacchus, crowned with vine 

 leaves, stands beside Ariadne, who is seminude, 

 in front of an altar erected beside a Terminus, 

 while all around bacchantes and satyrs are 

 grouped, some playing instruments and some 

 dancing. In the background are the shore of the 

 sea and mountains. 



Louis Beroud's Paradise Lost represents Adam 

 and Eve driven from Eden by the Angel, whose 

 hand is seen reaching out from a cloud of light 

 behind. At the right, upon a craggy rock, is a 

 tiger showing his teeth, and at the left a hovering 

 bird of prey. 



Ulpiano Checa's Vinicius riding toward Burn- 

 ing Rome is evidently a scene from Quo Vadis, 

 and Henri Charles Daudin's Aphrodite a scene 

 from the Aphrodite of Pierre Louys. The latter 

 represents the quay at sunset, with galleys in the 

 background and in the foreground dancing-girls, 

 and many other figures grouped around them. 



The Abduction of Cupid by the Sirens, by 

 Adolph Lalire, is an immense canvas represent- 

 ing sirens and sea-horses in an apparently inex- 

 tricable maze, with Cupid in the midst and flying 

 amoretti above. It is said to be for the dining- 

 room of the Chateau des Sirenes. 



Paris: Salon of the Societe Nationale. The 

 twelfth annual exhibition of the Societe Nationals 

 des Beaux Arts comprised 1,960 numbers, of which 

 932 were paintings, 486 designs, drawings, etc., 

 129 engravings, 141 sculptures, 219 art objects, 

 and 53 architecture. 



The post of honor was reserved for seven works 

 of Cazin, lately deceased, who was one of the 

 most active founders of the Societe Nationale. 

 Among them was his Souvenir de Fete a Paris, ex- 

 hibited first in the Salon of 1881, which was re- 

 ceived by the critics with many satirical remarks, 

 and a later and better example, entitled La Char- 

 rette. 



Of the five exhibits of Carolus-Duran, The En- 

 sign of the Fencing Master represents a full-length 

 figure in fencing costume leaning on his foil. 



J. Beraud exhibited his usual monstrosity, a 

 sacred subject in modern costume. He entitles 

 this one Christ Bound to the Column. It repre- 

 sents the Saviour, whose head radiates light, in 

 the midst of a crowd of French workmen and 

 gamins, who are binding him with cords. 



Hagborg's Elves represents many nude figures 

 with diaphanous flying draperies floating in air 

 over an expanse of water with a wooded landscape 

 for a background. His Old Fisherman, a more 

 characteristic subject, shows an old man standing 

 in shallow water, with a basket on his back, and 

 holding a good-sized hand net in both hands. 



Aublet's Young Girl frightened by a Swan is 

 a suggestion of the story of Leda. The girl, who 

 is entirely nude, is sitting on a grassy bank 

 throwing up her arms in terror at the swan, which 

 does not look in the least aggressive. It is simply 

 an excuse for painting a nude, of which the ex- 

 hibition was full, under the usual titles of A 

 Study, Nude Study, Spring, Summer, Lady at her 

 Toilet, etc. 



The Upper Chamber, by EugSne Girardet, repre- 



