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B 73
ME
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BERNARD BOUTET DE MONVEL
From a biographical sketch by Christian Brinton
author of “Modern Artists,” etc.
Bernard Boutet de Monvel is the second son of Maurice Boutet
de Monvel, the distinguished painter, draughtsman, and pictorial
interpreter of Joan of Arc, whose work has already been seen to
such advantage a few years ago at the Albright Art Gallery. One of
the youngest and most talented of the artistic fraternity of Paris,
Bernard Boutet de Monvel has managed to escape from the shadow of
a great name, and, while preserving in a sense the traditions of his
father's art, has achieved for himself an entirely independent
position. He possesses the same strongly marked gift for decora-
tive effect and a similar purity of line, yet his work is decidedly
bolder and more robust than that of Boutet de Monvel the elder.
After the customary academic training, the young man struck man-
fully out for himself at an age when most artists are still at the
schools. Always fond of outdoor sport, the favorite themes of
Bernard seldom fail to reflect this particular phase of pictorial
activity. Then, too, peasants, School girls, huntsmen, and Smart
coaches and tandems often figure in his work and are outlined with
singular vigor and precision. His coloring is usually flat and
decorative in feeling — the coloring of a draughtsman rather than
a painter, though of late years his palette has acquired more sub-
tlety and an increasing regard for atmospheric effect. But he is
not only a color-etcher, having won an almost equal position as
painter, and exhibiting regularly at the Société Nationale, or New
Salon, where his canvases command attention through their fresh-
ness of subject and frankness of treatment. As a typically French
artist of the younger school, he has been accorded gratifying recog-
nition abroad, particularly in Germany, where he has frequently
exhibited. His Paris studio is in the picturesque and secluded
little Passage de la Visitation on the left bank of the river not far
from his father's home in the Rue de Sèvres. -
Bernard Boutet de Monvel is typical of the best and sanest forces
in contemporary French art, respectful of the past and open-minded
toward those newer phases of aesthetic expression which are to-day
puzzling the minds of the lethargic and conservative public.
This collection of one hundred color-etchings of Bernard Boutet
de Monvel was brought over for exhibition at a few of the leading
American museums by the Director of the Albright Art Gallery,
who secured them during her visit to Paris last summer.
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CATALOGUE OF A COLLECTION OF
COLOR-ETCHINGS
BY
BERNARD BOUTET DE MONVEL
IN GALLERY XVII, NORTH OF THE SCULPTURE COURT
MoonLIGHT.
MoonLIGHT.
THE TERRACE.
Dog.
MORNING TOILET.
THE CRINOLINEs.
TARGET SHOOTING.
THE HOOP-SKIRT.
A FRENCH GARDEN.
A HUNTING LUNCHEON.
1
0.
11. THE VISITORs.
12. A BEGGAR.
13. A BEGGAR.
14. THE TOILET.
15. THE PROMENADE.
16. THE SKATER.
17. THE PARK.
18. THE PARK.
19. DEPARTURE FOR THE HUNT.
20. THE BAR.
21. BEAU BRUMMEL AND GEORGE IV.
22. BEAU BRUMMEL.
23. A DANDY.
24. A LADY OF FASHION.
25. THE LION.
26. THE LION.
27. THE LIONESS.
28. A DUDE.
29. A DUDE.
30.
31.
32.
33.
34.
35.
36.
37.
38.
39.
40.
41.
42.
43.
44.
45.
46.
47.
48.
49.
50.
51.
52.
53.
54.
55.
56.
57.
58.
59.
60.
61.
62.
63.
64.
65.
A LADY OF FASHION.
AN OLD PRIEST.
THE BARGE Wom AN.
PEASANT WOMAN.
THE LOCK KEEPER (wood engraving).
THE LOCK KEEPER.
OLD MAN.
OLD Wom AN.
THE INVALID.
THE TRACKER.
THE TRACKER.
THE TRACKERs.
LOING CANAL.
LOING CANAL.
A CUSTOMER. *~
DONKEYS.
CHURCH AT BAGNAUx.
Moon RISE.
THE HOUR OF REST.
THE BLUE CART.
A PORTRAIT.
THE HUNTERs.
THE WALKERs.
MAN WITH A Dog.
THE WALKER.
GoLF.
THE SPORTSMAN.
AN OLD DANDY.
RUE DE LA PAIX, PARIs.
AN INFORMAL VISITOR.
PoRTRAIT OF MAURICE. H. G.
PORTRAIT OF MRS. D. S.
PoRTRAIT OF LOUIS P.
PORTRAIT OF J. L. V.
PortRAIT OF MR. B.
PortRAIT OF MISS C.
:
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66.
67.
68.
69.
70.
71.
72.
73.
74.
75.
76.
77.
78.
79.
80.
81.
82.
83.
84.
85.
86.
87.
88.
89.
90.
91.
92.
93.
94.
95.
96.
97.
98.
99.
PORTRAIT OF R. M. D.
PoRTRAIT of MARCEL B.
PoRTRAIT OF MARCEL B.
THE BLUE DRESS.
THE BLUE DRESS.
THE PINK DRESS.
LITTLE GIRL WITH UMBRELLA.
SUMMER.
SUMMER.
WINTER.
WINTER.
GREYHouNDS.
BROTHER AND SISTER.
PSYCHE.
PSYCHE.
POLO.
VEGETABLE SELLER.
BOUQUETS.
THE LUXEMBOURG.
HYDRANGEAS.
HYDRANGEAS.
ORPHANS.
THE WILLAGE.
SCHOOL GIRLs.
SCHOOL GIRLs.
THE TUMBREL.
THE TILTED CART.
THE NEW JACKET.
THE EMPIRE DRESS.
RETURN FROM MARKET.
YouNG MAN.
THE DINING-ROOM.
THE DINING-RooM.
THE CEMETERY.
THE BOX-CoAT.
***
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Publishedouarterly
With Illustrations
- & 8 Academy Notes,” while designed, primarily, to aid in the de-
velopment and extension of art interest among the citizens of
Buffalo, and especially to promote the interests of the Buffalo Fine
Arts Academy, does not confine itself exclusively to the local field,
but aims to present sufficient general art news, reviews, comments,
and attractive illustrations to encourage those who are interested
in art to become subscribers, wheresoever their place of residence. . .
Contemporary art and artists of all countries, the Art Museums
of the world — and particularly of the United States — are
stibjects to which especial attention will be given. . .
“Academy Notes” strives to encourage interest in
and patrons of Art institutions, artists, and collectors of art works;
to demonstrate to the layman the value of intelligent art study
and art collecting as a civilizing influence and a wise and satis-
fying investment of time, effort, and money. - -
Published by the Buffalo Fine Arts Academy, under the direc-
tion of the Art Committee and Cornelia B. Sage, Director. -
Academy receive “Academy Notes.”
Subscription, $1.00 a year in the United States, Canada, Cuba,
All members and Associate members of the Buffalo Fine Arts
and Mexico, postage prepaid; $1.50 a year to foreign countries,
postage prepaid. Single copies, twenty-five cents. . . .
Address subscriptions to The Buffalo Fine Arts Academy,
Albright Art Gallery, Buffalo, N.Y.
tº Every citizen of Buffalo should read “Academy Notes,”
in order to keep informed of the numerous special exhibitions of
foreign and American works of art at the Albright Art Gallery,
and of the artists who contribute to them. Three and one-half
days in each week admission to all exhibitions is free.
1 worthy art
and to arouse a spirit of emulation among the trustees, directors,
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