DOI issue:
Nr. 105 (November, 1905)
DOI article:Studio-talk
DOI Page / Citation link: https://doi.org/10.11588/diglit.26961#0104
Studio-Talk
humour, as also a pen
which is endowed with the
same characteristics.
EGYPTIAN PANEL
BY COUNTESS FEODORA GLEICHEN
M
ADRID. — Ricardo Marin, a young
Spanish black-and white artist, has just
been showing at Madrid a number
of the illustrations on which he has
been at work for a new edition of “ Don
Quixote,” two typical examples of which are
reproduced on the preceding page. His Collec-
tion, though not completed yet, numbers already
several hundred drawings in pen and wash, and
by the time the series is finished will probably
not fall far short of a thousand.
The broadness of Senor Marin’s treatment is
well adapted to the bare
and big-horizoned scenery
of La Mancha. He pos-
sesses the initial merit—
not a small one in a
draughtsman under middle
age—of knowing what to
leave out, so as to con-
dense our interest on a
single figure or group of
figures, or on a single
feature of the landscape.
Discernment, not a gross
technique, endows his
characters with energy and
animation. In this respect
his work is slightly reminis-
cent of the late Randolph
Caldecott. Like the latter,
he has a delicate, exact,
intuitive, and rapid sense of
86
His presentation of the
Sorrowful Cavalier has just
enough of caricature to
lend Don Quixote’s eccen-
tricities a humorous relief,
without disfiguring life or
even pathos. The artist
seems to me to strike a
suitable and happy mean,
biending the gay and grave
in opportune degree. An-
other of his merits is con-
sistency. The same ideal
of Don Quixote’s look and
figure which won his fancy
at the very first is cherished and maintained
through all the series of these drawings.
L. W.
SYDNEY.—The recent exhibition under the
Royal Art Society’s auspices embraced
much that was good and more than a
little that did not quite attainto mediocrity.
Local art still proceeds along the lines of least
resistance, and the coming of a national Australian
school of painting is not presaged by any work
shown in the exhibition under review. In lament-
ably few pictures this year is there revealed even a
furtive groping after those effects of colour, space,
ASSYRIAN PANEL
BY GILBERT BAYES
humour, as also a pen
which is endowed with the
same characteristics.
EGYPTIAN PANEL
BY COUNTESS FEODORA GLEICHEN
M
ADRID. — Ricardo Marin, a young
Spanish black-and white artist, has just
been showing at Madrid a number
of the illustrations on which he has
been at work for a new edition of “ Don
Quixote,” two typical examples of which are
reproduced on the preceding page. His Collec-
tion, though not completed yet, numbers already
several hundred drawings in pen and wash, and
by the time the series is finished will probably
not fall far short of a thousand.
The broadness of Senor Marin’s treatment is
well adapted to the bare
and big-horizoned scenery
of La Mancha. He pos-
sesses the initial merit—
not a small one in a
draughtsman under middle
age—of knowing what to
leave out, so as to con-
dense our interest on a
single figure or group of
figures, or on a single
feature of the landscape.
Discernment, not a gross
technique, endows his
characters with energy and
animation. In this respect
his work is slightly reminis-
cent of the late Randolph
Caldecott. Like the latter,
he has a delicate, exact,
intuitive, and rapid sense of
86
His presentation of the
Sorrowful Cavalier has just
enough of caricature to
lend Don Quixote’s eccen-
tricities a humorous relief,
without disfiguring life or
even pathos. The artist
seems to me to strike a
suitable and happy mean,
biending the gay and grave
in opportune degree. An-
other of his merits is con-
sistency. The same ideal
of Don Quixote’s look and
figure which won his fancy
at the very first is cherished and maintained
through all the series of these drawings.
L. W.
SYDNEY.—The recent exhibition under the
Royal Art Society’s auspices embraced
much that was good and more than a
little that did not quite attainto mediocrity.
Local art still proceeds along the lines of least
resistance, and the coming of a national Australian
school of painting is not presaged by any work
shown in the exhibition under review. In lament-
ably few pictures this year is there revealed even a
furtive groping after those effects of colour, space,
ASSYRIAN PANEL
BY GILBERT BAYES