DOI Heft:
No. 73 (March 1903)
DOI Heft:Werbung
DOI Artikel:The new solid oil-colours: Interview with M. J. F. Raffaëlli
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.26227#0031
77?^ .S77'7
parency such as Hquid oil cannot give; and near
by these paintings were to be seen some real pastels,
done on pastei paper, and having aii the speciai
qualities of that medium, combined with perma-
nency and beauty of colour, and a more beautifui
and richer materiai.
" By means of this simpie exhibition the matter
was tested and settled. At wih one can, with
the same colours, paint oii pictures, hne in
colour and in warmth, or produce permanent
pastels in oii on the Srst scrap of paper at hand !
Is not that a good result ?
" Yes, I say it again : the thirty artists who dis-
played their paintings at Durand-Ruel's showed
what a remarkable variety of work can be achieved
by these little sticks of colour.
"Another point of interest—not one of these
artists showed any falling off in regard to personal
style and individuality. On the contrary, each
has rather enlarged his own manner. That is a
fact of great importance, for if this new mode
of painting had tended to mar the personality
of our artists, it would have been necessary to
condemn it irrevocably as bad and harmful. But
the result has been the reverse. Never has
Besnard, that admirable artist, been more
thoroughly Besnard, nor Thaulow more entirely
Thaulow. And Cheret has remained Cheret, and
Steinlen has revealed himself a superb painter,
while the others, one and all, have gained something
by this new process. Carrier-Belleuse has produced
pastels warmer, richer, hner in colour than ever;
Regamey has done a fresco, Louis Legrand some
illuminations, Whalberg several charming land-
scapes, the Abbe Van HoIIebecke some strong
and highly-hnished paintings, and Cesbrom some
delightfully fresh flowers.
" People assured me that the result would be
disastrous in an exhibition, because it would show
that each exhibitor had lost a little of his personality.
Well, the exhibition has been held, and even the
most obstinate have been obliged to admit that
every one of the artists represented gained in
respect of his personality, instead of losing it."
25
parency such as Hquid oil cannot give; and near
by these paintings were to be seen some real pastels,
done on pastei paper, and having aii the speciai
qualities of that medium, combined with perma-
nency and beauty of colour, and a more beautifui
and richer materiai.
" By means of this simpie exhibition the matter
was tested and settled. At wih one can, with
the same colours, paint oii pictures, hne in
colour and in warmth, or produce permanent
pastels in oii on the Srst scrap of paper at hand !
Is not that a good result ?
" Yes, I say it again : the thirty artists who dis-
played their paintings at Durand-Ruel's showed
what a remarkable variety of work can be achieved
by these little sticks of colour.
"Another point of interest—not one of these
artists showed any falling off in regard to personal
style and individuality. On the contrary, each
has rather enlarged his own manner. That is a
fact of great importance, for if this new mode
of painting had tended to mar the personality
of our artists, it would have been necessary to
condemn it irrevocably as bad and harmful. But
the result has been the reverse. Never has
Besnard, that admirable artist, been more
thoroughly Besnard, nor Thaulow more entirely
Thaulow. And Cheret has remained Cheret, and
Steinlen has revealed himself a superb painter,
while the others, one and all, have gained something
by this new process. Carrier-Belleuse has produced
pastels warmer, richer, hner in colour than ever;
Regamey has done a fresco, Louis Legrand some
illuminations, Whalberg several charming land-
scapes, the Abbe Van HoIIebecke some strong
and highly-hnished paintings, and Cesbrom some
delightfully fresh flowers.
" People assured me that the result would be
disastrous in an exhibition, because it would show
that each exhibitor had lost a little of his personality.
Well, the exhibition has been held, and even the
most obstinate have been obliged to admit that
every one of the artists represented gained in
respect of his personality, instead of losing it."
25