International studio (19.1903)

This important work is, in fact, the complete
expression of the artistic dream of a modern mind,
a man of the time; and the exhibition at the
Artists' Ciub of the model of the monument as
a whoie roused the public to extraordinary enthusi-
asm. The Government hesitated to commission
the artist ta execute it, and when it became known
that a great Danish patron of the arts, Mr. Jacob-
sen, intended presenting it to the City of Copen-
hagen, some members of the Artists' Ciub opened
a subscription iist, and names were rapidly added.
It may, indeed, be said that never before in Beigium
has such unanimous admiration been shown for any
work of art.

At the Exhibition of the Brussels Ciub, caliing
itself "Le Labeur," which was heid in the rooms of
the Modern Museum, M. Cambier's contributions
were worthy of note ; so aiso were those of M.


HOUSE DRESS DESIGNED BY

ELIZABETH WINTERWERBER

Othmann, whose coiour schemes are bright and
refreshing.
Finaliy, we have had the exhibition of the
"Siiion" Ciub. Here M. Wagemans was this year
conspicuous. He uses a very heavy impasto, with,
perhaps, too evident cleverness. M. Smeers and
M. Swyncop aiso try to paint powerfuily, while the
iandscapes by M. Degiume please by their sincerity.
The &77-WZM, a sketch for a tomb by
M. Kemmerich, is broadiy conceived and vigorously
executed. F. K.
ERLIN.—The movement which has in
H ^ view the improvement of women's dress
3 ) has been spreading graduaiiy in Ger-
^ many during the iast few years; yet
those who adopted it were untii recentiy few enough
to attract attention wherever they showed them-
selves. Doctors, artists, and the creators of women's
garments have long been studying the problem
of how to make " reform dress " more attractive.
Having solved the problem, the next step was
to demonstrate practicaliy that the particular kind
of attire advocated need not mean " ugiiness,"
but that, on the contrary, it could be artistic and
beautifui.

It was in 1898 that artists irrst began to
interest themselves in the movement, and severai
competitions were opened for artistic designs,
This was foilowed by exhibitions in various towns,
at which such artists as Henry van de Veide,
Behrens, of Darmstadt, Gussmann, of Dresden,
and many others vied with each other to produce
artistic and at the same time practical designs,
with the result that a "new artistic reform
dress " has been created, which is very different
from the originai " reform dress " that startied the
worid some twelve years ago. This was what
was required, for such exhibitions realiy meant
the transition from theory to practice. In Beriin
at ieast the "new artistic reform dress" is now
decidediy in favour. Whether it be at the theatre
or in the concert-hail, at receptions or in the baii-
room, there are always numbers of these dresses to
be seen.

Herr Paul Schultze-Naumburg, who was presi-
dent of the exhibition of examples of the new "re-
form" dress designed by well-known artists recentiy
held here, has been for years interesting himseif
in this movement, and more particuiarly with

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