DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.43452#0447
6
THE INTERNATIONAL STUDIO
March, 1911
E. GIMPEL & WILDENSTEIN
HIGH-CLASS OLD PAINTINGS
AND WORKS OF ART
EXHIBITION OF PAINTINGS BY
WALTER GAY
FROM MARCH 4th to APRIL 4th
NEW YORK
636 FIFTH AVENUE
The Silences of the Moon
By HENRY LAW WEBB
JOHN LANE COMPANY
NEW YORK
A book to refresh the mind beset by dull actual
things, and weary of their tiresome -pressure. It opens
a door upon prospects of great space.
THE most valuable series of 25-cent liand-
books on the great painters and sculptors
ever published. Each number contains 10 full-
page reproductions of selected examples of the
artist’s work, a biography, an analysis of his
art, quotations giving the cream of critical lit-
erature in all languages, a bibliography, and a
list of his principal works with their present
locations.
“The best work we know on the subject.”
Wisconsin Historical Library.
Send for list of subjects and further information
BATES & GUILD CO., 150 Congress St., Boston, Mass.
ARTISTS interested in the PERMANENCE OF THEIR PICTURES
NOW USE ONLY THE
Cloth. i2mo. Si.50 net. Postage 15 cents.
Clarence-H-White
PO KT KA IT5* BY* PHOTOGRAPHS
HWNG5 • BY• APPOINm-l ENT-AT THE-HOME-OK-.STUDIO
rru D IO • 5 *WEJT • 3 1-2 • 5T R.E E N EW-YO KKi cm
-TELEPHONE • 674 -MAD 150 N -
“CAMBRIDGE” ARTISTS’ COLORS
because they are a selected palette of Tinted Pigments, permanent and pure, and
capable of being mixed safely with each other. If your dealer does not carry
them write to addresses belotv.
Goods sent to artists direct, carriage paid. Dealers in Canada and United
States can obtain particulars of the sole sale for their town from the wholesale
agcls, K,|[)()L|' CJO.
77 York Street, Toronto, Ont. 158 Broadway, Rochester, N. Y.
The sole makers of the “Cambridge” Artists’ Colors are MADDERTON & CO., Ltd.,
Loughton, Essex, England.
0^
PLASTER CASTS
FROM TFIE ANCIENT AND MODERN SCULPTURE
W
For Home and School Decoration
\ r lifll
Drawing Models and Plasteline for Art and Drawing Schools
Price list free on request
Catalogue B, School Decorations, 35 cents. Catalogue C, Drawing
Models, 20 cents. Free to Superintendents and Principals of Schools
BOSTON SCULPTURE CO., Desk 1 33 West Street, BOSTON, MASS.
geometric style. The geometric wares,
slightly differentiated according to their
various localities, held their own for sev-
eral centuries, but during the seventh cen-
tury another influence made itself felt
which again changed the character of vase
decorations. This influence apparently
came from Ionia and acted in two direc-
tions: Mykenaean motives, which had been
geometrized beyond recognition in Greece
and the islands, but seem to have been pre-
served to a larger extent in Ionia, now
found their way again into Hellenic art,
enlivening what had become a thoroughly
stereotyped style, and Oriental influence,
through the medium probably of Ionian
metal and textile manufactures, was
brought to bear on Western Hellas, result-
ing in a fresh stock of ornaments and the
introduction of Eastern animals and fan-
tastic creatures.
This newly acquired vase shows traces of
all these influences; we find on it remnants
of the Attic geometric style, a revival of
Mykensean motives, and the introduction
of Oriental conceptions. But stronger
than any of these influences of past and
foreign arts is the impress it bears of the
newly born artistic spirit in Athens, which
was stimulated perhaps by the action of
these influences, but is unmistakable in its
vigorous individuality. For just as the
Apollo of Tenea with all its crudeness con-
tains the promise of the Parthenon sculp-
tures, so this early vase, primitive though
in many respects it be, is a worthy fore-
runner of the Athenian black-figured and
red-figured pottery.
The vase is, like the majority of this
class, of the amphora shape and is 3 feet
6f inches high. Its large size and the fact
that it was clearly intended to be viewed
from one side only, suggest that it was
placed on a tomb like some Dipylon vases.
The surface is richly decorated both front
and back, the figured representations being
reserved for the front side only. On the
latter there are three main representations,
on the neck, the shoulder and the body.
On the neck is a scene of a lion attacking a
spotted deer. The lion has placed his
forepaws on the deer’s back and is proceed-
ing to devour his victim. His aspect is
rendered especially fierce by having his
head depicted in full front, with large, open
mouth showing the tongue and two rows
of teeth. The deer is looking back in a
frightened attitude, as if taken unawares
by the sudden attack. On the shoulder
are represented two grazing animals, prob-
ably meant to be horses. Then follows the
chief representation, occupying a large part
of the body of the vase, and framed above
by a plait pattern, below by a band of
spirals. The subject is apparently the
story of the Centaur Nessos represented in
a somewhat novel way. The transport
across the river has already taken place,
for Herakles, with one hand grasping the
Centaur by the hair and the other wielding
his sword, is preparing to exact punishment
for the attempted offence against his wife,
Deianeira. Herakles wears a short tunic
and shoes and has the sheath and a shield
hanging by his side. Nessos, who is repre-
sented, as often in archaic art, with human-
shaped forelegs, is in a half-kneeling atti-
tude with both arms extended as if begging
for mercy. So far there is nothing unusual
in the representation, the attack with the
sword being evidently the accepted tradi-
tion at this period, as is shown by numer-
THE INTERNATIONAL STUDIO
March, 1911
E. GIMPEL & WILDENSTEIN
HIGH-CLASS OLD PAINTINGS
AND WORKS OF ART
EXHIBITION OF PAINTINGS BY
WALTER GAY
FROM MARCH 4th to APRIL 4th
NEW YORK
636 FIFTH AVENUE
The Silences of the Moon
By HENRY LAW WEBB
JOHN LANE COMPANY
NEW YORK
A book to refresh the mind beset by dull actual
things, and weary of their tiresome -pressure. It opens
a door upon prospects of great space.
THE most valuable series of 25-cent liand-
books on the great painters and sculptors
ever published. Each number contains 10 full-
page reproductions of selected examples of the
artist’s work, a biography, an analysis of his
art, quotations giving the cream of critical lit-
erature in all languages, a bibliography, and a
list of his principal works with their present
locations.
“The best work we know on the subject.”
Wisconsin Historical Library.
Send for list of subjects and further information
BATES & GUILD CO., 150 Congress St., Boston, Mass.
ARTISTS interested in the PERMANENCE OF THEIR PICTURES
NOW USE ONLY THE
Cloth. i2mo. Si.50 net. Postage 15 cents.
Clarence-H-White
PO KT KA IT5* BY* PHOTOGRAPHS
HWNG5 • BY• APPOINm-l ENT-AT THE-HOME-OK-.STUDIO
rru D IO • 5 *WEJT • 3 1-2 • 5T R.E E N EW-YO KKi cm
-TELEPHONE • 674 -MAD 150 N -
“CAMBRIDGE” ARTISTS’ COLORS
because they are a selected palette of Tinted Pigments, permanent and pure, and
capable of being mixed safely with each other. If your dealer does not carry
them write to addresses belotv.
Goods sent to artists direct, carriage paid. Dealers in Canada and United
States can obtain particulars of the sole sale for their town from the wholesale
agcls, K,|[)()L|' CJO.
77 York Street, Toronto, Ont. 158 Broadway, Rochester, N. Y.
The sole makers of the “Cambridge” Artists’ Colors are MADDERTON & CO., Ltd.,
Loughton, Essex, England.
0^
PLASTER CASTS
FROM TFIE ANCIENT AND MODERN SCULPTURE
W
For Home and School Decoration
\ r lifll
Drawing Models and Plasteline for Art and Drawing Schools
Price list free on request
Catalogue B, School Decorations, 35 cents. Catalogue C, Drawing
Models, 20 cents. Free to Superintendents and Principals of Schools
BOSTON SCULPTURE CO., Desk 1 33 West Street, BOSTON, MASS.
geometric style. The geometric wares,
slightly differentiated according to their
various localities, held their own for sev-
eral centuries, but during the seventh cen-
tury another influence made itself felt
which again changed the character of vase
decorations. This influence apparently
came from Ionia and acted in two direc-
tions: Mykenaean motives, which had been
geometrized beyond recognition in Greece
and the islands, but seem to have been pre-
served to a larger extent in Ionia, now
found their way again into Hellenic art,
enlivening what had become a thoroughly
stereotyped style, and Oriental influence,
through the medium probably of Ionian
metal and textile manufactures, was
brought to bear on Western Hellas, result-
ing in a fresh stock of ornaments and the
introduction of Eastern animals and fan-
tastic creatures.
This newly acquired vase shows traces of
all these influences; we find on it remnants
of the Attic geometric style, a revival of
Mykensean motives, and the introduction
of Oriental conceptions. But stronger
than any of these influences of past and
foreign arts is the impress it bears of the
newly born artistic spirit in Athens, which
was stimulated perhaps by the action of
these influences, but is unmistakable in its
vigorous individuality. For just as the
Apollo of Tenea with all its crudeness con-
tains the promise of the Parthenon sculp-
tures, so this early vase, primitive though
in many respects it be, is a worthy fore-
runner of the Athenian black-figured and
red-figured pottery.
The vase is, like the majority of this
class, of the amphora shape and is 3 feet
6f inches high. Its large size and the fact
that it was clearly intended to be viewed
from one side only, suggest that it was
placed on a tomb like some Dipylon vases.
The surface is richly decorated both front
and back, the figured representations being
reserved for the front side only. On the
latter there are three main representations,
on the neck, the shoulder and the body.
On the neck is a scene of a lion attacking a
spotted deer. The lion has placed his
forepaws on the deer’s back and is proceed-
ing to devour his victim. His aspect is
rendered especially fierce by having his
head depicted in full front, with large, open
mouth showing the tongue and two rows
of teeth. The deer is looking back in a
frightened attitude, as if taken unawares
by the sudden attack. On the shoulder
are represented two grazing animals, prob-
ably meant to be horses. Then follows the
chief representation, occupying a large part
of the body of the vase, and framed above
by a plait pattern, below by a band of
spirals. The subject is apparently the
story of the Centaur Nessos represented in
a somewhat novel way. The transport
across the river has already taken place,
for Herakles, with one hand grasping the
Centaur by the hair and the other wielding
his sword, is preparing to exact punishment
for the attempted offence against his wife,
Deianeira. Herakles wears a short tunic
and shoes and has the sheath and a shield
hanging by his side. Nessos, who is repre-
sented, as often in archaic art, with human-
shaped forelegs, is in a half-kneeling atti-
tude with both arms extended as if begging
for mercy. So far there is nothing unusual
in the representation, the attack with the
sword being evidently the accepted tradi-
tion at this period, as is shown by numer-