International studio (25.1905)

<7/ .SY. Y^ov/Y

In Belgium to-day nearly all interpreters of the
artistic cult, old and young alike, are enlisted in
a common cause, the promulgation of modern
feeling.
This is a beautiful illustration of confident con-
viction in tire correctness of a decision and of a
determination to accomplish its expression ; and it
was nowhere more strikingly exemplified than
through a comparison of the works of Adrian J.
Heymans and the young Gilsoul: both received un-
reserved admiration for their attainments, and both
showed decided personality, yet each proclaimed
an earnest endeavour to unite in all essentials
for the solution of the vital points of the hour.
Heymans' example, entered as TUzz Azzzz THwzg- wz
^ z^zz Caw^zzzq was a truly marvellous
production; it is revolutionary without being icono-
clastic ; it states its idea forcibly butf quietly ; and
it combines a decidedly pictorial conception with a
most descriptive elucidation. In the matter of
technique, its two facts which first impress them-
selves upon the observer are original com-
position, expressed in the isolated clump
of trees at the centre of the picture, and
the remarkable effect of misty atmosphere.
The latter has plainly been aided in its
delineation by the use of a modified im-
pressionism. This exemplifies a study of
/Vwz zzz'z- that is sane; it does not flaunt
a screen of restless, independent colours ;
it takes advantage of the principle, and
gives a resultant that is both toned and
rational. The softly illumined sky, its
reflections in the uneven swamp, and the
cleverly modelled foreground are so affec-
tionate, so truthful, so tender in colour,
that one would have no difficulty in
realising that the creator of such a picture
was an idealist of the nobler type, a lover
of nature in her every mood. Between
this work and the original essay of TXzz
Tzzz-zzz'zz^* z7/zf%? 6zz?zzz/ a/ 7??-?zgM, by Victor
Gilsoul, there is a great divergence.
Altogether decorative, the second subject
is a masterpiece in rhythm. Its colour
has been produced in sombre blue-greens,
which have yielded tellingly to the ad-
mirable chiaroscuro. The arrangement
has been studiously yet facilely considered,
and the perspective has been excellently
drawn. Everything of a non-picturesque
character has been rejected, and every-
thing of an ornamental nature has been
retained. Even the winding canal has

been utilised in a subtle balance of mass. The
lines are each in themselves distinct studies in
simple, unaffected grace, and the textures are
finely rendered. Again, Mr. Heymans' H/z
H/z^zvzzwz z'/z is altogether different from
his early morning subject already described. The
substance of this is a rural landscape in rich greens
and russet browns, with solidly clustered trees in
the middle distance, and a warm autumn sun
sending oblique shadows from objects without the
picture across an interesting foreground. The
lazily floating clouds, the Hock of birds, and the
comfortable cattle wading in the swamp, give the
air of peaceful, natural life. The variety expressed
in the slanting lines of shadow cast from objects
in front of the picture was again skilfully employed
by Emile Claus in his painting called IH'zz^z* Azzzz.
Here the shadows of an iron fence streak across
the barren ground, and extend partly up the
trunk of a tree near the centre of the picture. The
manner in which the masses are disposed with


' A MAX OF THE PEOPLE " BY COXSTAN'l'INE MEUNIEK

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