File:Winter-Auvergne, by Victor Charreton.jpg

Identifier: internationalstu75newy (find matches)
Title: International studio
Year: 1897 (1890s)
Authors:
Subjects: Art Decoration and ornament
Publisher: New York
Contributing Library: Robarts - University of Toronto
Digitizing Sponsor: University of Toronto

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ther in date. Charreton standswith those Impressionists who painted so cleverlythat the younger men revolted and even resolvedto paint clumsily. His pictorial style, his interestin problems of light and analysis of color are thesame qualities which created revolutionary pointsof view in the questioning period of the eightiesand which since have moved logically on to thecomplexities of simplicity, the analysis of LesFauves, even to Dadaism. Living in the coun-try and disliking Paris, Charreton is outside theinfluences which ferment so quickly in the artcenter of the world. Where he would see subtlecolors playing into one another, many of his con-temporaries would see opposed forces or rhythmicmotions. Where the modernist paints the barenessor the abstract quality he recognizes as vital,Victor Charreton may paint light, which he thinksis vital. It is not unusual for artists of this genera-tion to be content with technical excellence, nice- one hundred ten APRIL I Q 2 2 mi i rUAUOriAL sn
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WI M I I:BY VICTOR ness of mood and sunlight, with-out a striking and, let us say, anintellectual dominant force. But such an accept-ance is at the bottom of Victor Charretons art.He looks for all the beauty he can find in the natur-ally poetic appearance of things. The name of GuiIIaumin keeps intruding uponme when I look at Charretons work—not becausethe two paint in the same way, but because thereis a subtle distinction in the kind of pleasure eachhad in painting. Charreton is a younger GuiIIau-min, as observant and as sympathetic a person-ality, but with fresher energy and more individualinterest in the subjects of his landscapes. Theenergy shows itself in his experiments. Afterthirty-live years he is still experimenting, trying todisengage prettiness from beauty, attemptingcompositions which are not obviously composed,and painting solid objects with the light behindthem. He is anxious always to attain such skillthat even his slightest sketch will be a completerecord of his full

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