DOI Heft:
Nr. 225 (November 1915)
DOI Artikel:Genthe, Arnold: The work of Mario Korbel and Walter D. Goldbeck
DOI Artikel:A famous decoration: Besnard's "Peace"
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.43460#0103
A Famous Decoration: Besnard’s “Peace"
DR. ARNOLD GENTHE
BY MARIO KORBEL
FAMOUS DECORATION:
BESNARD’S “PEACE”
Albert Besnard’s Allegorical
Group symbolizing “Peace,” which
the French Government will contribute to
Andrew Carnegie’s Peace Palace at The Hague, as
its share of the decoration of the now sadly
incongruous edifice, will be used in the principal
cities of the United States as a sort of recruiting
poster. The appeal which this famous painting
will make, however, will be directed not to the
enlisting of soldiers for organized murder, but
to the enlisting of sympathy for the innocent
victims made by the war among a class proverb-
ially improvident—painters and sculptors. The
need of the families of French artists was quickly
appreciated by their brothers-in-art of America,
and last spring there was held an exhibition and
sale in which all the objects had been donated
to the relief of the women and children whom
the French soldier-artists had been forced to
leave in want when answering the call to colours.
The other day the older men in the world of
an unusual colour pattern. His eye, sensitive to
the significance of silhouette, knows how to
render great masses in perfect value, a quality
which shows most significantly in the picture
entitled Reverie. It represents a young woman
in black against a light background. The dark
eyes of the wistful face are gazing directly out of
the picture; the right hand, admirably painted,
is lightly resting on the lap of the seated figure.
Nothing could be simpler, and yet the subtly
harmonized colouring and the refinement of the
enveloping tone make this portrait a most dis-
tinguished performance, which Goldbeck will
have difficulty in surpassing.
That Goldbeck feels the fascination of the open
air, is attested by a number of small landscapes—
interesting, sensitive notes of light—and atmos-
pheric effects—while a picture called Dawn, a
brilliant landscape with a child’s figure greeting
dawn with outstretched hands, was merely
pleasing. It was the only discordant note in an
exhibition that otherwise showed a. fearless
individuality and competent knowledge express-
ing itself in anything but commonplace methods;
and which attest in a forceful and most promising
manner Goldbeck’s qualities as a portrait painter.
M. ALBERT BESNARD
PRESIDENT, FRENCH ACADEMY, ROME
XXIII
DR. ARNOLD GENTHE
BY MARIO KORBEL
FAMOUS DECORATION:
BESNARD’S “PEACE”
Albert Besnard’s Allegorical
Group symbolizing “Peace,” which
the French Government will contribute to
Andrew Carnegie’s Peace Palace at The Hague, as
its share of the decoration of the now sadly
incongruous edifice, will be used in the principal
cities of the United States as a sort of recruiting
poster. The appeal which this famous painting
will make, however, will be directed not to the
enlisting of soldiers for organized murder, but
to the enlisting of sympathy for the innocent
victims made by the war among a class proverb-
ially improvident—painters and sculptors. The
need of the families of French artists was quickly
appreciated by their brothers-in-art of America,
and last spring there was held an exhibition and
sale in which all the objects had been donated
to the relief of the women and children whom
the French soldier-artists had been forced to
leave in want when answering the call to colours.
The other day the older men in the world of
an unusual colour pattern. His eye, sensitive to
the significance of silhouette, knows how to
render great masses in perfect value, a quality
which shows most significantly in the picture
entitled Reverie. It represents a young woman
in black against a light background. The dark
eyes of the wistful face are gazing directly out of
the picture; the right hand, admirably painted,
is lightly resting on the lap of the seated figure.
Nothing could be simpler, and yet the subtly
harmonized colouring and the refinement of the
enveloping tone make this portrait a most dis-
tinguished performance, which Goldbeck will
have difficulty in surpassing.
That Goldbeck feels the fascination of the open
air, is attested by a number of small landscapes—
interesting, sensitive notes of light—and atmos-
pheric effects—while a picture called Dawn, a
brilliant landscape with a child’s figure greeting
dawn with outstretched hands, was merely
pleasing. It was the only discordant note in an
exhibition that otherwise showed a. fearless
individuality and competent knowledge express-
ing itself in anything but commonplace methods;
and which attest in a forceful and most promising
manner Goldbeck’s qualities as a portrait painter.
M. ALBERT BESNARD
PRESIDENT, FRENCH ACADEMY, ROME
XXIII