International studio (25.1905)

plastic art, and knows weil exactly what is needed
to bring it into the prominence at which he aims.
With him form is everything; he ignores the merely
picturesque, and recognises that sculpture is not the
right medium for the expression of agitated move-
ment ; his work is thoroughly well balanced, dig-
nified, and reserved—the central motive is never
blurred by the introduction of any extraneous
detail. His standing and seated figures reflect
the calm, contemplative Hungarian tempera-
ment, and he evidently knows well that passion
or emotion would be quite out of place in
them. His portraits of his fellow-countrymen
and women are true likenesses, and his ideal
groups are equally remarkable for their severe
simplicity.

Not yet thirty years old, Teles has already won
a great reputation, especially by his statuettes; but
his designs for the Monument to the late Empress
Elizabeth, consort of the Emperor Francis Joseph,
that to the Hungarian poet Vorosmarthy, and the
one for the Mausoleum of the patriot Kossuth,
prove that he can also deal successfully with
commemorative sculpture. O. R.
80

/T UNICH.—At the beginning of his career
/ % / H Mr- Carl von Coulon, two of whose
! V H paintings are here illustrated, followed
more or less usual traditions; but
the well-trodden path, the easy road, if not to
fame, at least to notice, did not suit him long;
he began his studies again under his own guid-
ance. His work tells us at once that the
principal labour was not done in the studio, but
always with and before his model and master
— Nature. The rule of his studio was that
the eye has to learn much more than the
hand — a fact which is too often forgotten.
Dutch landscape and the great Dutch land-
scape painters, which he thoroughly studied,
have had the most powerful influence on his
development.

If he paints laughing spring, the rich glow and
coloured glory of summer, autumn's deep yearning
or winter's icy brilliancy, the mist rising from the
river, or the cottage at the corner of the road—his
whole aim is to give us nature, nature as the
artist saw it full of the richness, depth and variety
of his feeling. A. S. T.

CHANNEL IN AMSTERDAM

BY CARL VON COULON

^ RESDEN.—We
n give illustra-
}."i W tions on page
* y8 of a medal
and a plaquette by Alex-
ander Kraumann. The
Gold Medal for the Venice
Fine Art Exhibition, 1903,
is rather full of detail on
the obverse, but it is cleverly
reminiscentof Venice's one-
time Byzantine glory. This
artist's plaquettes are exem-
plary in their distribution
of light and shade, and the
modelling is in an admi-
rable, large spirit, though
in single parts the propor-
tions may not be quite
beyond criticism. One of
these plaquettes celebrates
the opening of a new source
in one of the Continental
baths; the others, I believe,
have no reference to any
particular person or event.
H. W. S.