DOI Heft:
No. 13 (April, 1894)
DOI Artikel:Khnopff, Fernand: Some English art works at the "Libre Esthétique," at Brussels
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.17190#0045
La "Libre EstKitique"
SOME ENGLISH ART WORKS AT ^"Jf b'f°re the hfT b°°ks of
THE "LIBRE ESTHETIOUE," ^ MomS-a^ a
AT BRUSSELS. BY FERNAND ^^ Troy A Dream of John Ball, oi
KHNOPFF which the frontispiece has been designed with
such distinction by Sir Edward Burne-Jones. One
The portrait of the Marchioness of Granby, by recognises in them the perfection of quality ; and
G. F. Watts, R.A., is the work which dominates the first appearance of these works of the Kelms-
the entire exhibition. Place &
upon an easel before a
bronze-green background, it
appears, in its frame of gold,
as a superb jewel. The
blues of the robe and the
blues of the mountains
against which is posed the
pale head with blond hair,
form a harmonious ensem-
ble, of a richness without
parallel. The sending of
George Frampton, the new
A.R.A., is numerous and
varied ; a bust, Mysteriarch ;
two bas-reliefs, Vision and
St. Christina, which have
both been reproduced in
The Studio; a very inte-
resting terra-cotta study for
a portrait, and a fragment of
a coloured frieze. All of
these are full of curious
research, cleverly presented,
and, above all, modelled in a scholarly and delicate cott Press before the Brussels public, one can
fashion. I would cite only as an example, the eye truly say, has been a real triumph,
in the bas-relief Vision, and the little angel-musi- In the same case are placed the charming
cians which are placed on each side of this bas- editions of Elkin Mathews and John Lane, where
relief. , one meets with the names of such masters of black
and white as
Walter Crane,
Laurence
H o u s m a n ,
Charles Rick-
etts, and J. II-
lingworth Kay;
and not far
from these are
the illustra-
tions which Au-
brey Beardsley
The Glasgow school is represented by a portrait has imagined with such subtlety for the Salome
by D. Cameron, broadly posed, and by a landscape, of Oscar Wilde. These are of strange inven-
by J. R. Murray—two canvases of value, which tion, of refined ornament, and of a rare finish of
are painted in the subdued brown coloration execution. Further, upon the walls of this room,
affected by this group of Scotch artists. one especially remarks the large lithographs corn-
It is with the most lively admiration that con- posed for the Fitzroy Picture Society. F. N.
SOME ENGLISH ART WORKS AT ^"Jf b'f°re the hfT b°°ks of
THE "LIBRE ESTHETIOUE," ^ MomS-a^ a
AT BRUSSELS. BY FERNAND ^^ Troy A Dream of John Ball, oi
KHNOPFF which the frontispiece has been designed with
such distinction by Sir Edward Burne-Jones. One
The portrait of the Marchioness of Granby, by recognises in them the perfection of quality ; and
G. F. Watts, R.A., is the work which dominates the first appearance of these works of the Kelms-
the entire exhibition. Place &
upon an easel before a
bronze-green background, it
appears, in its frame of gold,
as a superb jewel. The
blues of the robe and the
blues of the mountains
against which is posed the
pale head with blond hair,
form a harmonious ensem-
ble, of a richness without
parallel. The sending of
George Frampton, the new
A.R.A., is numerous and
varied ; a bust, Mysteriarch ;
two bas-reliefs, Vision and
St. Christina, which have
both been reproduced in
The Studio; a very inte-
resting terra-cotta study for
a portrait, and a fragment of
a coloured frieze. All of
these are full of curious
research, cleverly presented,
and, above all, modelled in a scholarly and delicate cott Press before the Brussels public, one can
fashion. I would cite only as an example, the eye truly say, has been a real triumph,
in the bas-relief Vision, and the little angel-musi- In the same case are placed the charming
cians which are placed on each side of this bas- editions of Elkin Mathews and John Lane, where
relief. , one meets with the names of such masters of black
and white as
Walter Crane,
Laurence
H o u s m a n ,
Charles Rick-
etts, and J. II-
lingworth Kay;
and not far
from these are
the illustra-
tions which Au-
brey Beardsley
The Glasgow school is represented by a portrait has imagined with such subtlety for the Salome
by D. Cameron, broadly posed, and by a landscape, of Oscar Wilde. These are of strange inven-
by J. R. Murray—two canvases of value, which tion, of refined ornament, and of a rare finish of
are painted in the subdued brown coloration execution. Further, upon the walls of this room,
affected by this group of Scotch artists. one especially remarks the large lithographs corn-
It is with the most lively admiration that con- posed for the Fitzroy Picture Society. F. N.