One of those passing rainbow dreams,
Half light, half shade, which fancy’s beams
Paint on the fleeting mists that roll,
In trance or slumber, round the soul.
English readers and artists have hardly yet made the acquaintance of Besnard. To continental art-lovers he has long been known as the strongest and most audacious of the young men in the movement, and is thoroughly Impressionist in his ideas and methods. Few living artists have had the good fortune to be so much discussed as M. Besnard. Each Salon brings its chorus of admiration, its storm of disapprobation. The height of the argument was reached a few years ago, when, at the New Salon, the artist exhibited his Ponies worried by Flies. A startling piece of colour, it created a strong impression upon those who saw it. At that moment the existence of the violet tints in nature, which had been so beautifully demonstrated by Monet in his series of Les Cathédrales and by Sisley in his charming river studies, was much under discussion in the studios. In some of the works of Monet and Sisley the whole picture is saturated in a glow of violet, which is frequently to be found in nature, particularly in northern France. Those who had not seen this natural effect disbelieved in its existence and charged the artists with painting “de chic.” Those who had seen it and essayed the difficult task of reproducing it upon canvas, loudly proclaimed its truths. Then came the Ponies worried by Flies. Besnard had heard of the heated discussion raging round the violet tints, and, having observed the truth of the effect, determined to demonstrate it in paint. Never had been seen in any Salon such a blaze of colour as this. The composition seemed to be but a peg upon which to hang a sermon in technique. Violet, violent in colour, pure hot impasto as shadow, juxtaposed directly to its natural complement of light in the shape of orange and citron colours, brilliantly loud and unadulterated. A sensation was created, and disbelief in the existence of violet tints in nature for ever silenced. M. Besnard has followed this success with many other surprising themes, for it is his pleasure to amaze. He seeks incessantly the new and incongruous.
THE QUAY AT VEERE · EMILE CLAUS
THE BARRIER · EMILE CLAUS
Besnard’s talent has been, and continues to be, publicly recognised. The municipality of Paris yearly expends large sums of money in securing the best available skill for decorating the public buildings in its charge. In this laudable custom it is followed by every town of any importance throughout the country. Lavishly patronised by the Government, the municipalities, wealthy private collectors, and the sentiment of the people generally, artists thrive in France and multiply. In whatever respect—if any—in which France may be found lagging behind the nations, in Art she must by the very reason of things remain supreme, for Art is a part of her daily life. Besnard has been lucky with his commissions. He was called upon to assist in the decoration of the magnificent Hôtel de Ville of Paris, in the Town Hall of the First Arrondissement, in the lecture hall of the Sorbonne, and with the frescoes in the School of Pharmacy. In all these decorations one finds colour and composition as original as bizarre, harmonious yet forcible. All students of modern painting should not fail to see these works, the most striking in execution of the last few years. The artist’s atelier is also always open to connoisseurs, and it will be found to be crowded with sketches and pictures in progress, each one unmistakably the handiwork of a master craftsman.