Page 36 - Studio International - March 1965

1

wasser display different degrees of refinement in the
interplay of nature, light and colour; each of them uses
his particular style to translate a simultaneously poetical
and sensual feeling-an individual understanding of the
behaviour of matter.
This refinement and desire to communicate secret
emotions are still more apparent in the many drawings
and water-colours in the collection. Here, too, there is
no feeling of the limitation generally resulting from
artificial distinctions between figurative and non­
figurative art; one is again aware of the intuitive pursuit
of individual taste, with pleasure as the guiding value.
One of Wols' efforts-and not the least pleasing­
allows the human image the same value in the shape
of a face with the decisive line of a drawing by Jerome
Bosch. Andre Masson is also represented by a figura­
tive work-a generous and pure nude female figure.
1
Lambert-Loubere Gaudier Brzeska, an excellent French draughtsman who
Landscape is hardly known because of his early death, is very well
2
Balthus represented. Some watercolours of Sissier attempt the
Le Buste A La Cheminee limits of painting, poetry and imagery.
117 x 89 cm
3 The same independent spirit is apparent in the selec­
Music
Horses, 1951 tion of sculptures Mme de Rothschild has made. There
4 is the same refusal to place in categories, and the same
Geer Van Velde
Painting intuition of one who admires the works that move and
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