The International Studio /June 1915 . I ^#ra/ Philippe Roll matic reality with a keen sense of expressive andhuman truth. Zola, Goncourt and Maupassant arethe literary inspirators and here appears succes-sively after The Strike, antedating, let us observe,by several years the Germinal of Zola, thatgrand page illustrated by Roll in 1882: ThePopular Fete of July 14th in 1885, Le Chantier enTravail dc Suresnes in 188 7. The Forward March,an incident fullof action of thecampaign of187c, was in-spired by livingmemories (asRoll was lieuten-ant of militiaduring the war);it is scrupulouslyrealistic an
The International Studio /June 1915 . I ^#ra/ Philippe Roll matic reality with a keen sense of expressive andhuman truth. Zola, Goncourt and Maupassant arethe literary inspirators and here appears succes-sively after The Strike, antedating, let us observe,by several years the Germinal of Zola, thatgrand page illustrated by Roll in 1882: ThePopular Fete of July 14th in 1885, Le Chantier enTravail dc Suresnes in 188 7. The Forward March,an incident fullof action of thecampaign of187c, was in-spired by livingmemories (asRoll was lieuten-ant of militiaduring the war);it is scrupulouslyrealistic and free from useless bril-liancy or fancyof any kind. In 1891 TheCommemorationof the Centennialof 1 y%9 finally in-spired in Rollthat colossalwork which fig-ures in the Ver-sailles Museum and which, in the most simple and direct way, with neither pomp nor allegory, shows an enthu-siastic crowd,pressing aroundPresident Car-not. There onecan recognize allthe political fig-ures of the mo-. cS&SfSSfS. tiTiZ^Te lke L™»* »rough courtesy of tke French THE WOMAN IN WHITE Rv ArT, «\ ALFRED PHILIPPE ROLL ment both civic and artistic. The artist has sue- his brush. The Laying of the First Stone of the AlexanderBridge, exhibited in the Salon of 1899, and alsodestined for the Versailles Museum. These areManda La Metric, the Normandy Farm Woman,1880, now in the Luxembourg Museum; The OldWoman of Picardy of 1881; Rouby Cement Makerof 1S84, The Old Quarryman of 1889, and thenagain The Poor French Ragard and Louise Cattel (nurse) 1894,77^Tillers of the Soiland The Exodu 5 of the same year,The Old Womanwith the Faggot,of 1901, TheDrama of theEarth and TheCalvary of 190^. The last works ofthis series offera note more orless harsh andsad. It is nolonger the joy-ous activitiesproductive ofthe power of hu-man effort, butoppression of fa-tigue, miseryand despairwhich hauntsthe mind of thegloomy and sad-dened , beforethat crisis, per-taining to scenesof t
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