International studio (42.1910)

Studio-Talk

1abendgold

(Copyright, Fritz Hoefle Augsburg)

. those who surrounded Courbet
when the latter appeared at the
Munich International Exhibition
in 1869 and declaimed against
false historical composition, while
demanding truth and observation
of real life. By observation of
French art Szinyei was led to
abandon the " brown vision ; " his
colouring became clearer, and his
genre studies showed close obser-
vation of life. Chance made him
a studio-neighbour of Bocklin's,
whose influence was added to that
of Courbet. By strict study of
nature, Szinyei reached the plein-
air problem, which he solved by
his Picnic, finished in 1873, thus
anticipating Manet. The colour
effect and the novelty of the com-
by edmund steppes position excited disapprobation ;

the breeze or by the soughing of
the winds. There is a feeling of
rest and repose in his pictures,
well exemplified in Abendgold, a
picture full of charm and fancy,
where the slender trees seem to
touch the blue heavens and mingle
with their hues. Above all, there
is depth of thought and earnest-
ness in Steppes' composition, a
keen sentiment for the decorative,
and a feeling for style, expressed
with an intimacy and knowledge
born of understanding and love.
Nature has breathed her secret to
him, has revealed to him things
beyond the general ken £of man-
kind, and, moreover, has taught
him how to reveal her glories to
others in the loveliest and most
touching of tones. A. S. L.

BUDAPEST.—Szinyei-
Merse (born in 1845)
belongs to the genera-
tion that laboured in
the development of our modern
art. He studied at Munich in the
Sixties under Piloty, in the com-
pany of Leibl, who painted a
portrait of him. He was one of "trinkets" by louis mark

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