DOI issue:
No. 60 (February, 1902)
DOI article:Studio-talk
DOI Page / Citation link: https://doi.org/10.11588/diglit.22772#0357
Studio- Talk
The exhibition of the “ Arte et Lahore ” society
brings us once more to the galleries of the “Oud
Muzeum.” As was the case in other years, there
was nothing very striking in the display. This
society should rid itself of half its members, and
keep only seven or eight, among whom H. de
Smeth and Looymans are facile principes. I have
already expressed my opinion of these two artists.
They are both vigorous colourists, and several of
their canvases, particularly Styfhoofdige (The Head-
strong) and Terugkomst van de Schapen (Return of
the Sheep), by de Smeth, and De Discipelen van
Emaus, by Looymans, deserve high praise. Let
me name also as producers of work worth paus-
ing to look at—Alois de Laet, Nykerk, Haeck,
Allaerts, Pierre and Leo van Aken.
In an ancient chapelle in the boatmen’s quarter
—or, to be more exact, in what still remains of the
“ Schippers Kwartier ” of former days — Richard
Baseleer exhibited a large collection of studies,
sketches, and pictures, some in pastel, some in
oils. I have no hesitation in describing this
display as, on the whole, the finest manifestation
of art I have seen in Antwerp for the past two or
three years. Baseleer has made his way in the
face of strong opposition, which has, perhaps,
retarded his progress. But now that he has
emerged victorious from the conquest his triumph
is the more striking. Under the general title of
De Schelde (The Scheldt) his pictures lead one,
ordinarily by the waterway, through that interest-
ing arm-of-the-sea which stretches from Antwerp
to Flushing. Baseleer has certainly the right to
take his place among the best of our seascapists.
P. de M.
BERLIN.—In the Kunstgewerbemuseum
there has been an exhibition of very
noteworthy productions of the Swedish
association, “ Handarbetets Vanner.”
The intelligent and cultivated women of this Swedish
society, stimulated by the ancient traditions of a
national textile art, have succeeded in deriving
delightful insp:rations from the old work, and
the Swedish peasant’s arts of weaving, embroidery,
‘ FLEMISH ARCHERS
BY LEO VAN AKEN
292
The exhibition of the “ Arte et Lahore ” society
brings us once more to the galleries of the “Oud
Muzeum.” As was the case in other years, there
was nothing very striking in the display. This
society should rid itself of half its members, and
keep only seven or eight, among whom H. de
Smeth and Looymans are facile principes. I have
already expressed my opinion of these two artists.
They are both vigorous colourists, and several of
their canvases, particularly Styfhoofdige (The Head-
strong) and Terugkomst van de Schapen (Return of
the Sheep), by de Smeth, and De Discipelen van
Emaus, by Looymans, deserve high praise. Let
me name also as producers of work worth paus-
ing to look at—Alois de Laet, Nykerk, Haeck,
Allaerts, Pierre and Leo van Aken.
In an ancient chapelle in the boatmen’s quarter
—or, to be more exact, in what still remains of the
“ Schippers Kwartier ” of former days — Richard
Baseleer exhibited a large collection of studies,
sketches, and pictures, some in pastel, some in
oils. I have no hesitation in describing this
display as, on the whole, the finest manifestation
of art I have seen in Antwerp for the past two or
three years. Baseleer has made his way in the
face of strong opposition, which has, perhaps,
retarded his progress. But now that he has
emerged victorious from the conquest his triumph
is the more striking. Under the general title of
De Schelde (The Scheldt) his pictures lead one,
ordinarily by the waterway, through that interest-
ing arm-of-the-sea which stretches from Antwerp
to Flushing. Baseleer has certainly the right to
take his place among the best of our seascapists.
P. de M.
BERLIN.—In the Kunstgewerbemuseum
there has been an exhibition of very
noteworthy productions of the Swedish
association, “ Handarbetets Vanner.”
The intelligent and cultivated women of this Swedish
society, stimulated by the ancient traditions of a
national textile art, have succeeded in deriving
delightful insp:rations from the old work, and
the Swedish peasant’s arts of weaving, embroidery,
‘ FLEMISH ARCHERS
BY LEO VAN AKEN
292