DOI issue:
No. 62 (April, 1902)
DOI article:Mobbs, Robert: A swiss painter: Charles Giron
DOI Page / Citation link: https://doi.org/10.11588/diglit.22773#0101
A Swiss Painter
A SWISS PAINTER : CHARLES
GIRON. BY ROBERT MOBBS.
Those who have studied the works
Produced during the last few years by Swiss land-
scape and portrait painters cannot have failed to
impressed by one sign, amongst others, full of
Promise for the future of art in this country—viz.
that the Swiss painter, instead of being carried
away by the modern impulse for travel and “ pas-
tures new,” is turning more and more to his own
Wonderful land and its national types and customs
for the subject-matter and inspiration of his art.
This should not seem strange considering the
•nexhaustible mine of artistic wealth that the
natural beauty of this country opens to the artist.
®ut it is noteworthy that while it is the fashion
With not a few modern artists “ to travel round the
world, and to produce from their notes de voyage
general aspects bearing neither stamp nor certificate
°f mileage—in other words, pictures ”—the artists
of greatest promise and no mean achievement in
the present Swiss school have set themselves to a
fresh interpretation of the perennial beauty and
grandeur of Alpine landscape and a new treatment
of those characteristic features of Swiss life which,
alas ! are beginning to fade out of the framework
of reality. It is impossible to study the landscapes
of Hans Sandreuter, Gustave Jeanneret, Alexandre
Perrier, Abraham Hermenjat, Gustave de Beau-
mont, Henry van Muyden, Carl Theodor Meyer,
Ernest Bieler, Giovanni Giacometti, Otto Vautier,
David Estoppey, Alfred Rehfous, Jacques Ruch,
Charles Giron, or the portrait-painting of Fritz
Burger, Charles Giron or Albert Welti, without
feeling that we have here a manifestation of art
that is not only strikingly personal and sincere,
but essentially Swiss. And these are but some of
the members of that group of Swiss painters whose
work deserves to be more widely known not only
for its intrinsic merit, but for its national character
and promise.
les vieux”
XVI. No. 62.—April, 1902.
(Photograph by F. Hahfstaengl)
BY CHARLES GIRON
A SWISS PAINTER : CHARLES
GIRON. BY ROBERT MOBBS.
Those who have studied the works
Produced during the last few years by Swiss land-
scape and portrait painters cannot have failed to
impressed by one sign, amongst others, full of
Promise for the future of art in this country—viz.
that the Swiss painter, instead of being carried
away by the modern impulse for travel and “ pas-
tures new,” is turning more and more to his own
Wonderful land and its national types and customs
for the subject-matter and inspiration of his art.
This should not seem strange considering the
•nexhaustible mine of artistic wealth that the
natural beauty of this country opens to the artist.
®ut it is noteworthy that while it is the fashion
With not a few modern artists “ to travel round the
world, and to produce from their notes de voyage
general aspects bearing neither stamp nor certificate
°f mileage—in other words, pictures ”—the artists
of greatest promise and no mean achievement in
the present Swiss school have set themselves to a
fresh interpretation of the perennial beauty and
grandeur of Alpine landscape and a new treatment
of those characteristic features of Swiss life which,
alas ! are beginning to fade out of the framework
of reality. It is impossible to study the landscapes
of Hans Sandreuter, Gustave Jeanneret, Alexandre
Perrier, Abraham Hermenjat, Gustave de Beau-
mont, Henry van Muyden, Carl Theodor Meyer,
Ernest Bieler, Giovanni Giacometti, Otto Vautier,
David Estoppey, Alfred Rehfous, Jacques Ruch,
Charles Giron, or the portrait-painting of Fritz
Burger, Charles Giron or Albert Welti, without
feeling that we have here a manifestation of art
that is not only strikingly personal and sincere,
but essentially Swiss. And these are but some of
the members of that group of Swiss painters whose
work deserves to be more widely known not only
for its intrinsic merit, but for its national character
and promise.
les vieux”
XVI. No. 62.—April, 1902.
(Photograph by F. Hahfstaengl)
BY CHARLES GIRON