DOI Heft:
Studio-Talk
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.43455#0165
Studio-Talk
“ UNE BRETONNE” (WOOD SCULP-
TURE). DESIGNED AND EXECUTED
BY E. G. LE BOURGEOIS
French Government an exhibition on somewhat
similar lines is to be held in Paris during the
coming summer has aroused keen interest here, and
it is safe to predict a cordial welcome when the
exhibition opens in May. Space has been provided
for the display in the Pavilion de Marsan at the
Louvre, and it is understood that the general
organisation will be a repetition of that which
proved so successful at Ghent.
Amongst artists in Paris who exploit wood-carving
as a medium of expression, Mons. E. G. Le
Bourgeois counts amongst the most interesting. In
his newel-posts, friezes and panels, delicate figures
and animals are his favourite themes, but naturalism
is never too precisely asserted. The accompanying
illustration, Une Bretonne, is a typical example of his
work, in which his ability in obtaining realistic
qualities when desired is characteristically defined.
E. A. T.
BERLIN.—At the Ktinstlerhaus there has
been on view a selection from the works
of open-air artists, such as Eichhorst and
Liinstroth, who have assiduously pursued
the study of light in interesting rural districts,
15°
Tiircke and Ter Hell, whose vast landscapes are full
of quiet charms, and Uth, Wendel, and Hansch.
Lithographs by Kailmorgen and drawings by Otto
H. Engel were also features of interest. The
sculptor Gerhard Janensch, a prominent teacher in
the Royal Academy of Art, has just finished a
monument to Frederick the Great for Silesia which
sums up in the simplest formula the watchful
and iron energy of that monarch. In the January
exhibition of the Secession mentioned below this
artist exhibited a nude female figure in marble, and
variety is the keynote of his life-work. A sense of
humour is discernible in his realism, yet pensive
melancholy appears the dominant feature. His
mastery over form and his insight into character com-
bined with technical latitude and skill have equipped
him equally for monumental work, portraiture and
imaginative compositions, and he manipulates clay,
marble and wood with the same dexterity. Janensch
studied under Schaper and succumbed to the
influence of Begas, but while assimilating the best
teachings of such masters he has followed his
personal bent. Undeterred by noisy modernists he
upholds his ideal of harmony in art.
After all the experimental extravagances in
present-day art life the January exhibition in the
PORTRAIT BUST BY GERHARD JANENSCH
“ UNE BRETONNE” (WOOD SCULP-
TURE). DESIGNED AND EXECUTED
BY E. G. LE BOURGEOIS
French Government an exhibition on somewhat
similar lines is to be held in Paris during the
coming summer has aroused keen interest here, and
it is safe to predict a cordial welcome when the
exhibition opens in May. Space has been provided
for the display in the Pavilion de Marsan at the
Louvre, and it is understood that the general
organisation will be a repetition of that which
proved so successful at Ghent.
Amongst artists in Paris who exploit wood-carving
as a medium of expression, Mons. E. G. Le
Bourgeois counts amongst the most interesting. In
his newel-posts, friezes and panels, delicate figures
and animals are his favourite themes, but naturalism
is never too precisely asserted. The accompanying
illustration, Une Bretonne, is a typical example of his
work, in which his ability in obtaining realistic
qualities when desired is characteristically defined.
E. A. T.
BERLIN.—At the Ktinstlerhaus there has
been on view a selection from the works
of open-air artists, such as Eichhorst and
Liinstroth, who have assiduously pursued
the study of light in interesting rural districts,
15°
Tiircke and Ter Hell, whose vast landscapes are full
of quiet charms, and Uth, Wendel, and Hansch.
Lithographs by Kailmorgen and drawings by Otto
H. Engel were also features of interest. The
sculptor Gerhard Janensch, a prominent teacher in
the Royal Academy of Art, has just finished a
monument to Frederick the Great for Silesia which
sums up in the simplest formula the watchful
and iron energy of that monarch. In the January
exhibition of the Secession mentioned below this
artist exhibited a nude female figure in marble, and
variety is the keynote of his life-work. A sense of
humour is discernible in his realism, yet pensive
melancholy appears the dominant feature. His
mastery over form and his insight into character com-
bined with technical latitude and skill have equipped
him equally for monumental work, portraiture and
imaginative compositions, and he manipulates clay,
marble and wood with the same dexterity. Janensch
studied under Schaper and succumbed to the
influence of Begas, but while assimilating the best
teachings of such masters he has followed his
personal bent. Undeterred by noisy modernists he
upholds his ideal of harmony in art.
After all the experimental extravagances in
present-day art life the January exhibition in the
PORTRAIT BUST BY GERHARD JANENSCH