DOI issue:
Nr. 98 (April, 1905)
DOI article:Oliver, Maude I. G.: Belgian art at the St. Louis Exhibition
DOI Page / Citation link:https://doi.org/10.11588/diglit.26959#0186
-5*C^A777 ^7^ 77^ 6*/. Z.C777A
was an unpretentious subject, feelingly
portrayed.
HAu/MM AF7T, from the brush of
Edgar Farazyn, was unquestionably a distinguished
accomplishment. The sure, unerring force of a
master hand has directed this portrayal of a
humble sea side occupation. The choice of colour
has been almost unrelenting in its free selection of
untoned green grass and of the vivid red nets
stained by the colour of the sea-weed. Of the
allegorical subjects shown a triptych depicting
7V<37M7-<? was especially noteworthy. This was a
contribution by Leon Frdderic, and showed an able
painter in his most serious manner. It depicts
Mother Nature with her four children, the Seasons,
personified in the large central panel, the little
ones reappearing separately in the smaller divisions.
A singular union of the most engaging realism in
representation with the subtlest qualities of de-
corative feeling is observed in this production. Of
the three canvases consti-
tuting the powerful essay
entitled <yA?^7/i,
by August Leveque, the
first section, presenting the
A7h7Y'M7 7/^ sug-
gests a glimpse of the
storied land of Arcady,
wherein the dwellers are
blithesome, roguish child-
ren. An expression of
naive and sprightly move-
ment is the result. The
three allegories by Leem-
poels may be described as
masterpieces.
Among the water colours
should be mentioned the
two admirable achieve-
ments by Alexandre Mar-
cette entitled respectively
ApHA and ZF-
7/M AA/%<?7Ap37.y.
Mention should also be
made of the quaint study
by Henry Cassiers called
Then the exquisite treat-
ments, with charcoal ren-
derings of hushed, reposeful
church interiors by Alfred
Delaunois should not be
overlooked, while Staquet's
clever water-colour hand-
ling on rough grey paper denoted a fresh, intelligent
comprehension.
Perhaps no greater indication of the sincere
endeavour in the present renaissance of Belgian
art can be met with than in her sculpture. In the
display at St. Louis, a marked variety of intention
was declared, monumental works, portrait and
ideal subjects having been granted equal import-
ance. One of the most impressive features of the
collection was a bearing the name of ^4 A/hw
7^ by Constantine Meunier. This is a
bronze head of heroic size, in which the spirit of
democratic and socialistic idea has apparently been
personified. The sturdy vigour, the resistance
against oppression, the indefinite yearning after
something more worthy in life—these all have
been collected in a single sonnet, which is the
glorification of the poor in their noblest aspirations.
Superb work also was seen in the examples by
the deceased master, Paul Devigne.
"BENEATH THE BEECHES" W FRAXZ COURTEXS
15°
was an unpretentious subject, feelingly
portrayed.
HAu/MM AF7T, from the brush of
Edgar Farazyn, was unquestionably a distinguished
accomplishment. The sure, unerring force of a
master hand has directed this portrayal of a
humble sea side occupation. The choice of colour
has been almost unrelenting in its free selection of
untoned green grass and of the vivid red nets
stained by the colour of the sea-weed. Of the
allegorical subjects shown a triptych depicting
7V<37M7-<? was especially noteworthy. This was a
contribution by Leon Frdderic, and showed an able
painter in his most serious manner. It depicts
Mother Nature with her four children, the Seasons,
personified in the large central panel, the little
ones reappearing separately in the smaller divisions.
A singular union of the most engaging realism in
representation with the subtlest qualities of de-
corative feeling is observed in this production. Of
the three canvases consti-
tuting the powerful essay
entitled <yA?^7/i,
by August Leveque, the
first section, presenting the
A7h7Y'M7 7/^ sug-
gests a glimpse of the
storied land of Arcady,
wherein the dwellers are
blithesome, roguish child-
ren. An expression of
naive and sprightly move-
ment is the result. The
three allegories by Leem-
poels may be described as
masterpieces.
Among the water colours
should be mentioned the
two admirable achieve-
ments by Alexandre Mar-
cette entitled respectively
ApHA and ZF-
7/M AA/%<?7Ap37.y.
Mention should also be
made of the quaint study
by Henry Cassiers called
Then the exquisite treat-
ments, with charcoal ren-
derings of hushed, reposeful
church interiors by Alfred
Delaunois should not be
overlooked, while Staquet's
clever water-colour hand-
ling on rough grey paper denoted a fresh, intelligent
comprehension.
Perhaps no greater indication of the sincere
endeavour in the present renaissance of Belgian
art can be met with than in her sculpture. In the
display at St. Louis, a marked variety of intention
was declared, monumental works, portrait and
ideal subjects having been granted equal import-
ance. One of the most impressive features of the
collection was a bearing the name of ^4 A/hw
7^ by Constantine Meunier. This is a
bronze head of heroic size, in which the spirit of
democratic and socialistic idea has apparently been
personified. The sturdy vigour, the resistance
against oppression, the indefinite yearning after
something more worthy in life—these all have
been collected in a single sonnet, which is the
glorification of the poor in their noblest aspirations.
Superb work also was seen in the examples by
the deceased master, Paul Devigne.
"BENEATH THE BEECHES" W FRAXZ COURTEXS
15°