DOI Heft:
Nr. 204 (February, 1914)
DOI Artikel:Studio-Talk
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.43454#0451
Studio- Talk
“moor landscape”
BY KARL HAIDER
Quite different is the ideal of M. Charles Jouas,
that fine and conscientious artist who invited us to
nspect at Chaine and Simonson’s Galleries the
fruits of several years assiduous labour. Cathedrals
such as Notre Dame and the old corners of Paris
—these are the themes that enchant this devoted
worker. Since the opening of his exhibition the
Musee Carnavalet has acquired some of his beauti-
ful water-colours in which the artist has evoked the
strangest and quaintest aspects of Old Paris. Besides
these he has depicted the infinitely varied and
poetic aspects of the parks of Versailles, of the
Cathedral of Chartres, of that of Rouen, and finally
of the Abbaye du Mont S. Michel. This exhibition,
the result of twenty years’ persistent work will
suffice to make the work of this finished artist
known and appreciated by the general public and
to set the seal upon a talent so different from that
of the majority of his contemporaries.
At the Georges Petit Galleries recently there was
held the tenth Salon de la Gravure Originale en
Couleurs, where one found, as usual, the names of
those who founded this society and have contributed
to its prosperity. The most celebrated of these
names is that of J. F. Raffaelli who prefaces gladly
the catalogue of this exhibition with a review of the
progress made not only by the artists but also in
the education of public taste. “ From an inquiry
made among the publishers we learn,” so writes
M. Raffaelli, “ that during this period of ten years
the sale of these prints has passed the gratifying
figure of four millions.” MM. Henri Jourdain,
Pierre Labrouche, Luigini, Henri Meunier and
Ulmann were in evidence as usual with those
delightful landscapes we are familiar with. Mons.
Raffaelli himself only showed three little views of a
country village, but all bore the stamp of his
characteristic mastery. The old-time landscapes of
Gaston de Latenay with their intense poesy called
to mind those most rare sanguines of the great
artists of the eighteenth century. H. F.
BERLIN.—The exhibition of the late Karl
Haider’s works at the Schulte galleries
was referred to in my notes last month,
and it remains to supplement the brief
remarks then made by some examples of his work
as a portrait and figure painter and as a landscapist,
in both of which capacities he worthily upheld the
317
“moor landscape”
BY KARL HAIDER
Quite different is the ideal of M. Charles Jouas,
that fine and conscientious artist who invited us to
nspect at Chaine and Simonson’s Galleries the
fruits of several years assiduous labour. Cathedrals
such as Notre Dame and the old corners of Paris
—these are the themes that enchant this devoted
worker. Since the opening of his exhibition the
Musee Carnavalet has acquired some of his beauti-
ful water-colours in which the artist has evoked the
strangest and quaintest aspects of Old Paris. Besides
these he has depicted the infinitely varied and
poetic aspects of the parks of Versailles, of the
Cathedral of Chartres, of that of Rouen, and finally
of the Abbaye du Mont S. Michel. This exhibition,
the result of twenty years’ persistent work will
suffice to make the work of this finished artist
known and appreciated by the general public and
to set the seal upon a talent so different from that
of the majority of his contemporaries.
At the Georges Petit Galleries recently there was
held the tenth Salon de la Gravure Originale en
Couleurs, where one found, as usual, the names of
those who founded this society and have contributed
to its prosperity. The most celebrated of these
names is that of J. F. Raffaelli who prefaces gladly
the catalogue of this exhibition with a review of the
progress made not only by the artists but also in
the education of public taste. “ From an inquiry
made among the publishers we learn,” so writes
M. Raffaelli, “ that during this period of ten years
the sale of these prints has passed the gratifying
figure of four millions.” MM. Henri Jourdain,
Pierre Labrouche, Luigini, Henri Meunier and
Ulmann were in evidence as usual with those
delightful landscapes we are familiar with. Mons.
Raffaelli himself only showed three little views of a
country village, but all bore the stamp of his
characteristic mastery. The old-time landscapes of
Gaston de Latenay with their intense poesy called
to mind those most rare sanguines of the great
artists of the eighteenth century. H. F.
BERLIN.—The exhibition of the late Karl
Haider’s works at the Schulte galleries
was referred to in my notes last month,
and it remains to supplement the brief
remarks then made by some examples of his work
as a portrait and figure painter and as a landscapist,
in both of which capacities he worthily upheld the
317