DOI Heft:
Nr. 176 (October, 1911)
DOI Artikel:Studio-Talk
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.43447#0409
Studio- Talk
The two wood-engravings reproduced belong to
a series of twenty-six illustrating the Alsatian legend
of the Middle Ages, “ Theodolinde.” Executed with
refinement, they have a character which accords
well with the period of the legend, while the
personal note is revealed in all of them.
F. M. A.
The painter Alphonse Stengelin is perhaps alone
among contemporary French artists as one who
lives and works almost entirely in Holland, and
this picturesque country has no more secrets for
him, for he has explored it and scoured it in every
sense. In his landscapes of Holland, Stengelin
has rather avoided the well-known localities such
as Haarlem, Dordrecht, and The Hague; he
prefers the little out-of-the-way country nooks and
corners which are less familiar : the
great windmills which are reflected
in the waters of the canals, moon-
light scenes with the moon rising
over solitary pools, or sailing barques
at their moorings on a sandy shore.
On themes such as these Stengelin
brings to bear a peculiarly sensitive
vision and an extremely delicate
metier. The painting which we
reproduce opposite, and which
belongs to the collection of Monsieur
J.J. Frappa, is one of the finest
morceaux of this remarkable artist,
who ranks among the best land-
scapists of the French school.
H. F.
Budapest. —The exhi-
bition of the Royal
Hungarian Art Society in
the first half of this year
was of peculiar interest, insomuch
as it ushered in the fiftieth year of
the foundation of the society. This
event will be celebrated at the
coming exhibition, which promises
to be of a high level; but here
there were comparatively few works
of really high artistic value. In
Aladar Kriesch Korosfoi (in Hun-
garian the order of these names is
reversed) Hungary possesses a culti-
vated artist of whom she may well
be proud. We know him as a
painter of subjects taken from the
legendary and romantic history of his
3r4
country; we also know him as a designer of those
lovely tapestries wovenbyLeo Belmont, and this time
we have learnt to know and value him as a sculptor.
His marble bust, Sancta Mater, is a fine work, in
which he has achieved a rare depth and poetry of
expression, the soft yellow Hungarian marble in
which it is chiselled lending itself admirably to the
artist’s purpose. Another work by the same artist
shown at this exhibition was a bronze bust of that
promising young artist R. Mihaly. I noted also
The Awakening, by Ferencz Sidlo, a young sculptor,
as a distinctly meritorious work, the modelling being
quite excellent.
Among the landscape painters who contributed
to this exhibition Baron Mednyanszky claims the
first place. He only sent one picture, A Windy
WOOD-ENGRAVING ILLUSTRATING THE ALSATIAN LEGEND OF “THEO-
DOLINDE.” BY M. V. ACHENER
The two wood-engravings reproduced belong to
a series of twenty-six illustrating the Alsatian legend
of the Middle Ages, “ Theodolinde.” Executed with
refinement, they have a character which accords
well with the period of the legend, while the
personal note is revealed in all of them.
F. M. A.
The painter Alphonse Stengelin is perhaps alone
among contemporary French artists as one who
lives and works almost entirely in Holland, and
this picturesque country has no more secrets for
him, for he has explored it and scoured it in every
sense. In his landscapes of Holland, Stengelin
has rather avoided the well-known localities such
as Haarlem, Dordrecht, and The Hague; he
prefers the little out-of-the-way country nooks and
corners which are less familiar : the
great windmills which are reflected
in the waters of the canals, moon-
light scenes with the moon rising
over solitary pools, or sailing barques
at their moorings on a sandy shore.
On themes such as these Stengelin
brings to bear a peculiarly sensitive
vision and an extremely delicate
metier. The painting which we
reproduce opposite, and which
belongs to the collection of Monsieur
J.J. Frappa, is one of the finest
morceaux of this remarkable artist,
who ranks among the best land-
scapists of the French school.
H. F.
Budapest. —The exhi-
bition of the Royal
Hungarian Art Society in
the first half of this year
was of peculiar interest, insomuch
as it ushered in the fiftieth year of
the foundation of the society. This
event will be celebrated at the
coming exhibition, which promises
to be of a high level; but here
there were comparatively few works
of really high artistic value. In
Aladar Kriesch Korosfoi (in Hun-
garian the order of these names is
reversed) Hungary possesses a culti-
vated artist of whom she may well
be proud. We know him as a
painter of subjects taken from the
legendary and romantic history of his
3r4
country; we also know him as a designer of those
lovely tapestries wovenbyLeo Belmont, and this time
we have learnt to know and value him as a sculptor.
His marble bust, Sancta Mater, is a fine work, in
which he has achieved a rare depth and poetry of
expression, the soft yellow Hungarian marble in
which it is chiselled lending itself admirably to the
artist’s purpose. Another work by the same artist
shown at this exhibition was a bronze bust of that
promising young artist R. Mihaly. I noted also
The Awakening, by Ferencz Sidlo, a young sculptor,
as a distinctly meritorious work, the modelling being
quite excellent.
Among the landscape painters who contributed
to this exhibition Baron Mednyanszky claims the
first place. He only sent one picture, A Windy
WOOD-ENGRAVING ILLUSTRATING THE ALSATIAN LEGEND OF “THEO-
DOLINDE.” BY M. V. ACHENER