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Studio: international art — 37.1906

Seite: 306
DOI Heft: DOI Artikel: DOI Artikel: DOI Seite: Zitierlink: i
http://digi.ub.uni-heidelberg.de/diglit/studio1906a/0326
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0.5
1 cm
facsimile
The Drawings of L. Pasternak

PEN PORTRAIT OF AGUSTTN QUEROL BY HIMSELF

artistic conception. In both he has endeavoured to
blend together the most daring groups of disorderly
masses with the precise symmetry of the classic
Greeks, or, in other words, to unite by means of
the grandiloquent " undulating line" both classicism
and modern realistic tendencies.

Seen from afar, the view of the Bolognesi
monument is inspiring: the tumbling, scrambling,
fighting soldiers; the silent lion's head guarding
the national banner; Glory, blindfolded, stretching
up her palm-leaf; Victory floating at the dying
hero's feet—exuberant, wild, grandiose! Ay, but
we must judge it from the Spaniard's point of view,
and take into consideration the artist's ideal, which
here, as perhaps nowhere else, he has been within
an ace of attaining; that is, the genial conception
of the " undulating line" which has to unite in
harmony—who can deny that harmony does exist ?
—both the savage hordes of writhing masses and
the unmistakable silence and plastic beauty of the
old, old type we are all so familiar with.

In the colossal figure signalising Peace croivmng
Art and Science, recently placed on the roof of
the Fine Arts Building in Madrid, the sculptor's
style shows a change. Simplicity, severity, even
306

coldness, are apparent in every line.
Not that the strongly characteristic har-
monious line is lacking—that cannot be
absent from Querol's monuments.

Modern sculpture throughout the world
is evidently going through a period of
transition. All is doubt and hesitancy,
until some artistic giant pushes his way
up and above his fellows, and, by the
strength of his personality, forces the
public to applaud and admire. One
of these giants is, beyond a doubt, the
modern Spanish sculptor, Don Agustin
Querol. C. R.

HE DRAWINGS OF
L. PASTERNAK. BY P.
ETTINGER.

Draughtsmanship as such is assuredly
not one of the strongest characteristics of
modern Russian art. It may, indeed, be
declared without exaggeration that the

COLOURED DRAWING BY L. PASTERNAK
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