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HAmerican [Magazine Section of hearst's Sunday American, Atlanta, September 19, 1915— i
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, ‘7',?. Way, Here Is an Interesting
’ & S y Contrast Between the Great French and
‘ i _\ | - ‘German Decorative Artists’
) - B w 3 | Viewpoint on the Dance
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Premiere Danseuse. | _» Ty “R : . W /// (@ / i,
ERE is an odd and interesting artistic combination
that has just managed to emerge from war-torn
m E“rope'
The Russian ballet is a perennial source of
inspiration to the greatest artists abroad, and Georges Bar
bier, the greatest of French decorative artists, home from the
front for a few days, found time to make a few wonderful ple
tures, of which the two shown on this page are a part.
At the same time there comes from Germany two on the
same stibject by Ludwig Kainer, who is to Leipsic what Bar
bler is to Paris. And, curiously enough, before the great war
separated the minds and affections of whole nations on the
Continent, Barbier and Kainer were friends, each an admirer
of the genlus of the other.
Now they fight on opposite sides of the trenches, but here
their viewpoint upon a more aesthetic, if not so powerful a
subject as the war is shown as an Interesting contrast,
Barbler is recognized as not only one of the greatest of
decorative artists of France, but of the world. He has as
great a sense of movement as the famous Bakst, and his color,
while not so rugged, or perhaps virile, is far more sophisti
cated. Bakst brings in the spirit of the Orient—the old Orfent
of Haroun al Raschid, with a strong dash of Tamerlane and
the Tartars. Barbler has to an enormous degree that fine
taste and spirit that Is France and essentlally Paris,
JKainer has a touch of the Slav in the Teutonlsm of his
work, despite his birth., He has the same sense of rapid move
ment that Bakst has, and the same curious use of color. The
comparison of his work with that of the famous Barbler's
is {lluminative to all art lovers and most Interesting In itis
revelation of the basic -plmunl and mental differences be
tween the two.
.kln( their cue from the artists of Paris, the German
artists at the front are making pictures of all kinds and send
ing them home for sale. The proceeds are devoted to the
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cause of the army, just as those of the French artists are,
And, oddly enough, as has been pointed out once before on
these pages, the subjects chosen are not the grisly, gloomy
sights of war. They deal with the old, pleasant things before
the war—the' dancing, the feasts, the everyday happenings
and pleasures of a nation at peace. So does the artistic mind
seem to revolt against the environment into which it has been
thrust and find compensatfon by calling up to memory the old
and happy days. .
One of the Barbler pictures shows Karsavina, the famous
beauty and member of the Russian Ballet, in the “Columbine
number, which {s a usual part of the ballet programme. The
second one shows Nijénski, the celebrated Russian dancer, in
that strange conception, “The Spirit of the Rose "
The Kainer drawing to the left is that of Paviowa in the
“Columbine.” The curious and interesting difference between
the two styles Is plain. In the large figure of Paviowa, Kainer
shows some of the Influence of Bakst in the free treatment.
Barbler and Kainer are not|the only distinguished artista
of thelir respective countries who help along their different
causes by their art. In France especially Is the whole artistic
and literary world laboring with every ounce of strength and
genius to assist the armies. Pictures, sketches and books, the
best In many cases that their creators have ever done, are
being turned out and find ready sale both in Fraoce and
England.
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