The Salon des artistes indépendants. Let’s continue to travel miles of painting
L’Intransigeant, nº 10840, March 20, 1910, pp.1-2.
” Let’s move on to room 19, where are exhibited (…) Doucet, whom Montmartre ball dancers and wretched portraits separate him forever, I hope, from his former friends of the Abbey”
La Vie artistique
L’Intransigeant, nº 11172, February 15, 1911, p. 2.
“At Marseille-et-Vildrac, 16, rue de Seine, Mr. Henri Doucet exhibits a fairly large number of somewhat disparate paintings in which the most distant influences fight; they go from Signac to Georges Desvallières via Gauguin, Marie Laurencin, Le Fauconnier, Verhoeven, or straying towards Lavery. Influences which, in Doucet, are explained by a personality defect, with above all — and this is seen in the progress made in a short time — but before him a will, an emotion, an artistic rectitude that are really praiseworthy. Curious carved woods enhance the interest of this exhibition.”
The Salon des indépendants. The neo-impressionists and the art of the dot. The Russian room, etc. etc
L’Intransigeant, nº 11238, April 22, 1911, p. 1-2.
The last rooms
“I notice (…) landscapes by Henri Doucet.”
The Salon d’automne. The exceptional attention given to Cubism by the press proves its importance
L’Intransigeant, nº 11409, October 10, 1911, p. 2.
“Here is the powerful Boxing Combat by D. de Segonzac, whose palette, whose means of expression are in progress, the Nude by Albert Moreau, whose melancholic imagination is expressed with great lyricism, the interesting entries of Duchamp, of Kars, of Doucet whose paintings, as well as the important composition of Lhote, the Bordeaux Harbour, seem very out of place in the Cubism room.”
La Vie artistique.French Orientalists. Five painters and an ironworker. Van Dongen
L’Intransigeant, nº 11894, February 6, 1913, p. 2.
“At Druet Gallery, a small Salon opened, bringing together the works of six painters and an ironworker, M. R. Desvallières, which exhibits andirons, a fire guard, a lectern, a tastefully decorated balcon of a simple and delicate taste.
There is sincerity and sensitivity in the paintings of Maurice Asselin.
It must recognize the gifts of MM. Lucien Mainssieux, Claude Rameau and Émile Roustan whose Foresian landscapes are full of emotion. There is more mannerism in Henri Doucet and especially in M. Zak.”
Choses d’art. The Salon d’Automne opening.
L’Intransigeant, nº 12176, November 15, 1913, p. 2.
“The gloomy M. Vallotton mourns room 3 with a painting entitled: Man and woman. Here again are Le Bail and Doucet.”