DOI Heft:
No. 92 (October, 1904)
DOI Artikel:Studio-talk
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.26962#0455
Studio-Talk
on a picture, so that from
the first he has a wonder-
ful mastery of detail. This
is the secret of the unity
of effect yet simplicity of
composition of his paint-
ings : he sees the whole
before he touches his
canvas. He has a most
remarkable memory for
colour and for form, so
that his studio-work gives
the impression of having
been done direct from the
subject. His alelier is
simply full of studies, and
he never goes out with-
out his sketchbook in his
pocket.
BUST OF THE POET
Already this great artist
has behind him a long
and honourable record of
work; but, for all that,
those who are interested in
Hungarian art still expect
great things from him in
the future—and they are
right. However strange it
may sound to those who
do not know him, that
grey - haired old master
grows daily younger and
more enthusiastic, while
his work becomes ever
more and more beautiful.
He is eagerly engaged from dawn to midnight on
some ten to fifteen pictures, each with its own
special problem needing solution, a solution he
supplies as easily as if it were mere play to him.
His style gains daily in grandeur; and whether his
composition, his draughtsmanship, or his colouring
be analysed, progress is ever the verdict; and this
progress is but the reflection of the master’s ever
growing enthusiasm for his work. His unique
personality, and its unique manifestation in his art,
render him indeed a worthy representative in
foreign countries of Hungarian art. R. M.
DUSSELDORF.—Professor Behrens’ de-
sign for a modern garden is the only
attempt in this direction to be found
at the Diisseldorf exhibition. It is
only about 60 metres long and 30 wide. Owing
GOFFIN
(See Brussels Studio■ Talk)
BY J. LAGAE
to peculiar difficulties no really good views of it
could be taken, and the two accompanying illus-
trations hardly do it justice.
Behrens argues that in former centuries all
gardens repeated the particular architectural style
of the dwelling houses which they surrounded.
This could not be otherwise, especially in southern
climates, where gardens were most in vogue. There
they really were nothing more or less than rooms
out of doors, places to live in in the open air, and
it was only natural that the designers should repeat
the same rhythm and rule which the architects had
laid down for the houses. The last pronounced
architectural style which the world developed, was
the one called on the continent the “ Empire.” Since
then anarchy and more or less unhappy re-hash
have reigned. As far as gardening is concerned
357
on a picture, so that from
the first he has a wonder-
ful mastery of detail. This
is the secret of the unity
of effect yet simplicity of
composition of his paint-
ings : he sees the whole
before he touches his
canvas. He has a most
remarkable memory for
colour and for form, so
that his studio-work gives
the impression of having
been done direct from the
subject. His alelier is
simply full of studies, and
he never goes out with-
out his sketchbook in his
pocket.
BUST OF THE POET
Already this great artist
has behind him a long
and honourable record of
work; but, for all that,
those who are interested in
Hungarian art still expect
great things from him in
the future—and they are
right. However strange it
may sound to those who
do not know him, that
grey - haired old master
grows daily younger and
more enthusiastic, while
his work becomes ever
more and more beautiful.
He is eagerly engaged from dawn to midnight on
some ten to fifteen pictures, each with its own
special problem needing solution, a solution he
supplies as easily as if it were mere play to him.
His style gains daily in grandeur; and whether his
composition, his draughtsmanship, or his colouring
be analysed, progress is ever the verdict; and this
progress is but the reflection of the master’s ever
growing enthusiasm for his work. His unique
personality, and its unique manifestation in his art,
render him indeed a worthy representative in
foreign countries of Hungarian art. R. M.
DUSSELDORF.—Professor Behrens’ de-
sign for a modern garden is the only
attempt in this direction to be found
at the Diisseldorf exhibition. It is
only about 60 metres long and 30 wide. Owing
GOFFIN
(See Brussels Studio■ Talk)
BY J. LAGAE
to peculiar difficulties no really good views of it
could be taken, and the two accompanying illus-
trations hardly do it justice.
Behrens argues that in former centuries all
gardens repeated the particular architectural style
of the dwelling houses which they surrounded.
This could not be otherwise, especially in southern
climates, where gardens were most in vogue. There
they really were nothing more or less than rooms
out of doors, places to live in in the open air, and
it was only natural that the designers should repeat
the same rhythm and rule which the architects had
laid down for the houses. The last pronounced
architectural style which the world developed, was
the one called on the continent the “ Empire.” Since
then anarchy and more or less unhappy re-hash
have reigned. As far as gardening is concerned
357