| (...) This genius is not only manifested in these trinkets, as essential as they are useless, to which no more or less historico-literary memories are attached, but only the joy of having touched them, weighed them, discovered them. He also asserts himself in a few works that tend to the nobility and where art becomes truly decorative. (...) an iron gate that Mr. Subes forged for the town hall of a district of Paris, the panel that Mr. Girieud painted on the theme of music, Ruhlmann's furniture (...) of this representative research, of this impulse towards something, which while remaining human, goes a little beyond humanity. (....) |