DOI Heft:
Nr. 126 (August 1907)
DOI Artikel:Baldry, Alfred Lys: The paintings of Mr. Charles Sims
DOI Artikel:Pica, Vittorio: A painter of gardens: Santiago Rusiñol
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.28252#0114
A Painter of Gardens: Santiago Rusihol
from any marked preference for the tenets of some
special school. The tendency, so prevalent at the
present day, for a painter to adopt one or other of
the fashionable executive mannerisms has not per-
ceptibly affected him; he does not advertise himself
as a follower of some school leader, nor even as a
professed imitator of any of the older masters who
are held up as fit subjects for the student’s worship.
He pretends to be neither a modern Frenchman
nor an early Italian; he does not model himself
upon Mr. Sargent, Mr. Abbey, Whistler, or any of
the other men who are supposed by their admirers
to have established immutably the only possible
canons of art. He has the courage to be simply
himself, and to paint as his instincts tell him he
should—and in this way to take the fullest advan-
tage of the qualities which are characteristically his.
With his temperament and his powers, with his
strenuous individuality and sincere self-reliance,
there should be before him a career of remarkable
distinction : indeed, almost anything is possible for
a man who has at so early an age attained a
position which most artists reach only after a life-
time of serious effort. A. L. B.
A PAINTER OF GARDENS:
SANTIAGO RUSINOL. BY
VITTORIO PICA.
Many of our readers must remember the exquisite
little poem in prose, “Frisson d’hiver,” in which
that accomplished French poet Stephanie Mallarme
describes with such extraordinary tenderness the
grace and charm of places and things faded and
changed by time, and expresses "in dreamy and
musical language the particular state of mind of
those who, tired and disappointed with all the
manifestations of our busy, noisy, modern life, love
to live intellectually, as it were, in a sort of morbid
regret of times and things gone by. To that cate-
gory of refined and artistic thinkers belongs the
Spanish painter Santiago Rusinol, generally known
as the “garden painter,” from his pronounced love
of painting gardens.
Amongst the clever young school of modern
Spanish artists to whom Spain owes the recent
renaissance of her painting after the decadence due
to the followers of Fortuny, Ignacio Zuloaga stands
out pre-eminently as the most characteristic painter of
from any marked preference for the tenets of some
special school. The tendency, so prevalent at the
present day, for a painter to adopt one or other of
the fashionable executive mannerisms has not per-
ceptibly affected him; he does not advertise himself
as a follower of some school leader, nor even as a
professed imitator of any of the older masters who
are held up as fit subjects for the student’s worship.
He pretends to be neither a modern Frenchman
nor an early Italian; he does not model himself
upon Mr. Sargent, Mr. Abbey, Whistler, or any of
the other men who are supposed by their admirers
to have established immutably the only possible
canons of art. He has the courage to be simply
himself, and to paint as his instincts tell him he
should—and in this way to take the fullest advan-
tage of the qualities which are characteristically his.
With his temperament and his powers, with his
strenuous individuality and sincere self-reliance,
there should be before him a career of remarkable
distinction : indeed, almost anything is possible for
a man who has at so early an age attained a
position which most artists reach only after a life-
time of serious effort. A. L. B.
A PAINTER OF GARDENS:
SANTIAGO RUSINOL. BY
VITTORIO PICA.
Many of our readers must remember the exquisite
little poem in prose, “Frisson d’hiver,” in which
that accomplished French poet Stephanie Mallarme
describes with such extraordinary tenderness the
grace and charm of places and things faded and
changed by time, and expresses "in dreamy and
musical language the particular state of mind of
those who, tired and disappointed with all the
manifestations of our busy, noisy, modern life, love
to live intellectually, as it were, in a sort of morbid
regret of times and things gone by. To that cate-
gory of refined and artistic thinkers belongs the
Spanish painter Santiago Rusinol, generally known
as the “garden painter,” from his pronounced love
of painting gardens.
Amongst the clever young school of modern
Spanish artists to whom Spain owes the recent
renaissance of her painting after the decadence due
to the followers of Fortuny, Ignacio Zuloaga stands
out pre-eminently as the most characteristic painter of