DOI Heft:
Studio-Talk
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.43450#0172
Studio- Talk
The only original work of Josephson at this ex-
hibition that could be called a masterpiece was the
Faun and Nymph, painted in Italy in 1879 under
the influence of the great Venetian Cinquecentists,
but still a personal and powerful work, especially
in colour. Josephson’s most important work of
his first period, Saul and David, was not on view,
having only a few months ago been given to the
National Museum of Stockholm by “The Friends
of the National Museum,” a society founded
last year. This year the Art Society intends to
arrange an exhibition of Josephson’s works executed
between 1880 and 1888, to which all Swedish art-
lovers eagerly look forward.
Carl Hill’s landscapes, mostly French subjects,
showed much talent and a strong influence of
Corot and Daubigny, but how great a loss our
Swedish art suffered when Hill’s career was broken
above all else a faithful recorder of the simple
aspects of Nature. He finishes most of his pictures
out of doors and does not find it necessary to con-
ventionalise form or to add any poetic idea alien to
the original composition. He does not generalise
beauty, but selects a moment that brings out the
best qualities of that particular scene.
Hutchens is a painter of moods. A peculiar
atmospheric condition, a sweep of wind across the
landscape, or a sudden luminosity of sky is sufficient
to him to lend a simple road or bit of forest land a
peculiar and permanent fascination. He is par-
ticularly fond of sunlight, and its golden lustre
embellishes the simplest objects with a true touch
of poetry. But it is a poetry of nature, of con-
trast and colour, or in other words an expression
of complete pictorial sanity. Hutchens under-
stands his craft. He has a delight in paint for
by sudden insanity it was
hard to judge from these
pictures, the first of his, I
believe, ever exhibited in
Stockholm. T. L.
EW YORK.—
Passing from
exhibition to
exhibition, one
notices that among our
contemporary landscape-
painters some have a
preference for dark tonali-
ties, others for cold realistic
or vivid impressionistic in-
terpretations, and again
others for poetic, half
heroic, half allegorical
scenes. There is, how-
ever, one group that has a
strong claim to superiority.
The painters w7ho belong
to this group do not desire
to be poetical, they do not
endeavour to portray any
sentiment beyond the one
which the scene itself sug-
gests. They simply desire
to depict nature as it
actually appears to the
normal eye. Among these
men, Frank Townsend
Hutchens occupies a
singular place. He is
160
“a song in the sky
BY FRANK T. HUTCHENS
The only original work of Josephson at this ex-
hibition that could be called a masterpiece was the
Faun and Nymph, painted in Italy in 1879 under
the influence of the great Venetian Cinquecentists,
but still a personal and powerful work, especially
in colour. Josephson’s most important work of
his first period, Saul and David, was not on view,
having only a few months ago been given to the
National Museum of Stockholm by “The Friends
of the National Museum,” a society founded
last year. This year the Art Society intends to
arrange an exhibition of Josephson’s works executed
between 1880 and 1888, to which all Swedish art-
lovers eagerly look forward.
Carl Hill’s landscapes, mostly French subjects,
showed much talent and a strong influence of
Corot and Daubigny, but how great a loss our
Swedish art suffered when Hill’s career was broken
above all else a faithful recorder of the simple
aspects of Nature. He finishes most of his pictures
out of doors and does not find it necessary to con-
ventionalise form or to add any poetic idea alien to
the original composition. He does not generalise
beauty, but selects a moment that brings out the
best qualities of that particular scene.
Hutchens is a painter of moods. A peculiar
atmospheric condition, a sweep of wind across the
landscape, or a sudden luminosity of sky is sufficient
to him to lend a simple road or bit of forest land a
peculiar and permanent fascination. He is par-
ticularly fond of sunlight, and its golden lustre
embellishes the simplest objects with a true touch
of poetry. But it is a poetry of nature, of con-
trast and colour, or in other words an expression
of complete pictorial sanity. Hutchens under-
stands his craft. He has a delight in paint for
by sudden insanity it was
hard to judge from these
pictures, the first of his, I
believe, ever exhibited in
Stockholm. T. L.
EW YORK.—
Passing from
exhibition to
exhibition, one
notices that among our
contemporary landscape-
painters some have a
preference for dark tonali-
ties, others for cold realistic
or vivid impressionistic in-
terpretations, and again
others for poetic, half
heroic, half allegorical
scenes. There is, how-
ever, one group that has a
strong claim to superiority.
The painters w7ho belong
to this group do not desire
to be poetical, they do not
endeavour to portray any
sentiment beyond the one
which the scene itself sug-
gests. They simply desire
to depict nature as it
actually appears to the
normal eye. Among these
men, Frank Townsend
Hutchens occupies a
singular place. He is
160
“a song in the sky
BY FRANK T. HUTCHENS