DOI Heft:
No. 65 (July, 1902)
DOI Artikel:Studio-talk
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.22774#0083
Studio-Talk
DESIGN FOR A TAPESTRY HANGING
(See Dresden Studio- Talk)
of electricity, and glow from molten metal on
wreathing vapour.
Whilst space forbids a fuller mention of other
sections now, the portraits of Laszld cannot be
passed over, nor the audacious work by the Russian
Maliavine, nor that of the Dutchman Roelofs.
Taken altogether, the Karlsruhe Exhibition
presents comprehensively the latest evolution in
modem art, and presents it charmingly. F .B.
M. de Beaumont is not
only an exquisite landscapist
and portrait painter, he is a
decorative artist, who has
contributed work of per-
manent value in this branch
to the art of his country.
by m. a. nicolai During his sojourn in Italy
he paid special attention to
“ l’etude de la fresque ”;
and this he turned to most effective use later
in his beautiful decoration, wrought in fifteenth
century style, of the roof of the “ Chapelle des
Macchabes ” at Geneva, and in his well-known
and masterly fresco-work which adorns with admir-
able fitness the “ Arsenal de Geneve.” This last
Salon, have a classic grace
and charm about them, and
were conceived during those
hours the painter spent in
the voiceful solitude of
the Roman Campagna,
now turning his eye to that
far-stretching classical land-
scape, and anon to the
pages of his favourite Latin
poet, Virgil.
GENEVA.—M. Gustave de Beaumont
comes of an artistic family. His
cousin, Miss Pauline de Beaumont,
occupies a central position in that
group of Swiss lady-artists whose work—to which
we hope to refer later in the pages of The Studio
—is worthy of careful study. M. de Beaumont,
like many of his fellow-artists in this part of
Switzerland, is a pupil of that remarkable bygone
Swiss master, Barthelemy Menn, and of the famous
French master, Gerome. Having completed his
studies at the 6cole d’Art in Geneva and at the
licole des Beaux-Arts in Paris, M. de Beaumont
was attracted to Italy both by his passionate
admiration of Renaissance art and by his taste for
classical lore. A glance at the work of what may
be called his first period reveals the influence upon
his imagination and sensitive artistic temperament
of such landscape as Virgil loved and described.
Indeed, those beautiful productions, the A Pastoral.,
the Sacrifice Champetre, and Z’Offrande, all of
which were successfully exhibited at the Paris
BOOK-COVER DESIGN BY M.
(See Dresden Studio- Talk)
NICOLAI
69
DESIGN FOR A TAPESTRY HANGING
(See Dresden Studio- Talk)
of electricity, and glow from molten metal on
wreathing vapour.
Whilst space forbids a fuller mention of other
sections now, the portraits of Laszld cannot be
passed over, nor the audacious work by the Russian
Maliavine, nor that of the Dutchman Roelofs.
Taken altogether, the Karlsruhe Exhibition
presents comprehensively the latest evolution in
modem art, and presents it charmingly. F .B.
M. de Beaumont is not
only an exquisite landscapist
and portrait painter, he is a
decorative artist, who has
contributed work of per-
manent value in this branch
to the art of his country.
by m. a. nicolai During his sojourn in Italy
he paid special attention to
“ l’etude de la fresque ”;
and this he turned to most effective use later
in his beautiful decoration, wrought in fifteenth
century style, of the roof of the “ Chapelle des
Macchabes ” at Geneva, and in his well-known
and masterly fresco-work which adorns with admir-
able fitness the “ Arsenal de Geneve.” This last
Salon, have a classic grace
and charm about them, and
were conceived during those
hours the painter spent in
the voiceful solitude of
the Roman Campagna,
now turning his eye to that
far-stretching classical land-
scape, and anon to the
pages of his favourite Latin
poet, Virgil.
GENEVA.—M. Gustave de Beaumont
comes of an artistic family. His
cousin, Miss Pauline de Beaumont,
occupies a central position in that
group of Swiss lady-artists whose work—to which
we hope to refer later in the pages of The Studio
—is worthy of careful study. M. de Beaumont,
like many of his fellow-artists in this part of
Switzerland, is a pupil of that remarkable bygone
Swiss master, Barthelemy Menn, and of the famous
French master, Gerome. Having completed his
studies at the 6cole d’Art in Geneva and at the
licole des Beaux-Arts in Paris, M. de Beaumont
was attracted to Italy both by his passionate
admiration of Renaissance art and by his taste for
classical lore. A glance at the work of what may
be called his first period reveals the influence upon
his imagination and sensitive artistic temperament
of such landscape as Virgil loved and described.
Indeed, those beautiful productions, the A Pastoral.,
the Sacrifice Champetre, and Z’Offrande, all of
which were successfully exhibited at the Paris
BOOK-COVER DESIGN BY M.
(See Dresden Studio- Talk)
NICOLAI
69