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1935 

Le Miri - Touloose

La sculpture au Salon d'automne est toujours peu nombreuse et rarement la qualité y racète ce défaut de quantité: on y trouve cette année quelques très belles choses et surtout deux ceutyres de Gustave Pimienta qui passent en intérét tout le reste: une gitane cambrée, exaltée par le génie et la joie de la danse, allègre et neveuse depuis les mains qu'elle élève en les retourant audessus de sa tète jusqu'a ses petits pieds nobles et au mouvement splendide de sa jupe trainante; un buste de fillette au regard pur, á la bouche délicieuse.
Le grave et honnéte Mateo Hernandez continue á tailler directement dans le schiste, le granit noir et la diorite, tout ce qu'il peut trouver de plus dur, des animaux puissants ou gracieux: un petit chimpanze á califourchon sur sa maman, une petite gazelle qui tette; Cornelia Chapin suit son exemple aven un élephant, taille directe en bois desites.

Delphine

Nancy

Non-signe"

Parisian Weekly

NOTES ON THE SALON D'AUTOMNE (continued)
In room 13, André Lhôte, chief of a certain use of "cubism sensible", in composition - shows two intriguing and spirite arrangements of compositions of a "cor anglais" melody perhaps. Tsanzk in room 15, shows to fine little views; Terechkovitch (same room) in his "Belle

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View from a window on the Ille Saint-Louis - by Paul de Laboulaye - young French artist know for the poetic quality of his tonalities, whose exhibition is at the Galeries Marsielle (7, quai Voltaire), until November 25th.

Matinée shows an astute and telling work; Madeleine Elisabeth Luka - a very different manner, more dense and sculptural in her "Mother and Child".
 Room 16 is rich in interesting personalities - dominate by a subtle "Sleeping Nymph" by André Plansor, we find there are also a decorative portrait by Laglenne, a rich still-life by Suzanne Tissie, Le Molt Oudot, Legueult - three wizards of close tone affinities; Hérualt showing a child done with much curious feeling; Suzanne Lalique with the preciousness of a Primitive. In room 18, Charles Blanc shows works of plastic, psychic expressiveness, subordonnating color to form; and Yves Brayer, intent on a cosmopolitan range of subject and oppositions of values of sharp comparaison; Rageade shows, here, a subtle figure, and Ganesco, one of his amusing and well-peopled scenes "La Plage", done in a broad spirit of generalisation. Chaplain-Midy and Jean de Botton, in 17 are two artists outstanding for a definite style, and a very personal vision.
 Te religious Art Section (downstairs), shows some remarkably virile compositions, especially in stained glass. The three large panels by Josette Bournet are of her usual extraordinary coloration, poignant and intense in greys and yellows; the design for a tapestry by Paul Bony has a compact composition which holds one's attention, the two sculptured figures by Mabel Gardner (American) are of a rare beauty of feeling in their conception, and working out. Odette Bourgain (near entrance) shows also a most winning and subtly felt painting of the Legend of the Holy Maries, quite a beautiful little piece of work; and the dramatic sketches by Georges Desvallière (President of the Salon, and master who has instigated this section) are of the intensity of feeling and expression one has learned to expect of him, with undiminished richness of decorative setting.
 In the sculpture section, down stairs, a small figure of an "Eve", by the yound Polish artist Kretz, is quite one of the jewels of the Salon, conceived with originality and yet deeply "classic" feeling for the rythm of the masses. Several pieces of animal sculpture by Mateo Hernandez in "taille directe", in rough s'one, are of much interest and vigor, and the work of his pupil, Cornelia Chapin (American artist) shows a devotion of industry, and an effort at solidity and sobriety, which should lead far with more developed interplay of shapes. Joeal Jan Martel shows an interesting bas relief for a fountain (near stairway and religous art section) of much interesting stylisation; while another Polish artist, Klukowski (other side) shows a warrior in taille directe of a rude and virile conception, well suited to the subject.
 In the decorative arts section a new name appears, that of Michel Kalitovicz, who shows a case containing two shawls decorated with a mot original fairy effect. Pottery by Bichoff of a curious hard texture and striking design is shown; magnificent glass by Lalique; handsome bronze doors by the master Raymond Subes; Le Borgeois, Printz, and many others present original conceptions, demonstrating the virility of invention, the sense of design, and the elegance, so characteristic of modern designing in Paris.

FANNING-TAYLOR.