DOI issue:
Nr. 199 (September, 1913)
DOI article:Studio-Talk
DOI Page / Citation link:https://doi.org/10.11588/diglit.43453#0285
Studio- Talk
Vago, Tory and Pogany, Emil Vidor, Aladar
Arkay, and Bela Rerrich. A. S. L.
GHENT.—The Ghent Exhibition de-
serves largely the encomiums which
have been bestowed upon it. Every-
thing is clear and well arranged, and
the visitor is filled with unceasing astonishment at
an achievement of such magnitude. Before study-
ing the Belgian Section it is only proper to felicitate
the architect Vandevoorde of Ghent who planned
and supervised the erection of the exhibition
buildings. His work, “ de style Louis XVI vague-
ment Viennois ” as it has been described, is elegant,
well conceived, and rich without excess of ornament.
On the occasion of the opening of the exhibition
the Floral Fete occupied almost entirely the
attention of the visitors, which was fortunate, as,
apart from the French Section, no branch of the
exhibition was completely ready. In other respects
as well the French section was particularly
superior to its rivals.
The exhibition ot the Ville de Paris, arranged
by M. G. Cain, is in the nature of an extension,
most delightfully adapted, of the Musee Carnavalet.
The section devoted to dress is “ one of the most
sensational attractions ! ” and indeed one hardly
knows which to admire the more, the creations of
these maitres du chiffon or the refined art with
which they are displayed. Evidence of the live
aesthetic spirit underlying the French style is afforded
by the fact that the same taste which reigns in the
dress section is apparent also in the rooms devoted
to the fine arts. Here we have indeed the clou of
the exhibition. Organised by M. Saglio, it shows the
French school in all its variety, combining without
any suggestion of incongruity the characteristics
of the Institut and of the Salon d’Automne.
As that excellent critic of art, M. Louis Dumont-
Wilden has written in “ L’Eventail ” : “ That which
forms the really exceptional charm of this exhibit,
that which enables it so decisively to express what
it is meant to show, is the manner in which it is
arranged; and with reference to this we do not
239
Vago, Tory and Pogany, Emil Vidor, Aladar
Arkay, and Bela Rerrich. A. S. L.
GHENT.—The Ghent Exhibition de-
serves largely the encomiums which
have been bestowed upon it. Every-
thing is clear and well arranged, and
the visitor is filled with unceasing astonishment at
an achievement of such magnitude. Before study-
ing the Belgian Section it is only proper to felicitate
the architect Vandevoorde of Ghent who planned
and supervised the erection of the exhibition
buildings. His work, “ de style Louis XVI vague-
ment Viennois ” as it has been described, is elegant,
well conceived, and rich without excess of ornament.
On the occasion of the opening of the exhibition
the Floral Fete occupied almost entirely the
attention of the visitors, which was fortunate, as,
apart from the French Section, no branch of the
exhibition was completely ready. In other respects
as well the French section was particularly
superior to its rivals.
The exhibition ot the Ville de Paris, arranged
by M. G. Cain, is in the nature of an extension,
most delightfully adapted, of the Musee Carnavalet.
The section devoted to dress is “ one of the most
sensational attractions ! ” and indeed one hardly
knows which to admire the more, the creations of
these maitres du chiffon or the refined art with
which they are displayed. Evidence of the live
aesthetic spirit underlying the French style is afforded
by the fact that the same taste which reigns in the
dress section is apparent also in the rooms devoted
to the fine arts. Here we have indeed the clou of
the exhibition. Organised by M. Saglio, it shows the
French school in all its variety, combining without
any suggestion of incongruity the characteristics
of the Institut and of the Salon d’Automne.
As that excellent critic of art, M. Louis Dumont-
Wilden has written in “ L’Eventail ” : “ That which
forms the really exceptional charm of this exhibit,
that which enables it so decisively to express what
it is meant to show, is the manner in which it is
arranged; and with reference to this we do not
239