Studio: international art (7.1896)

Studio- Talk

and lastly, M. Blanc-Garin, who has assumed the
mantle of his master and already helped to form
several artists of the future.

The exhibition by MM. Haukar, Duyck, and
Crespin at the Brussels Art Club is confined to
applied art. MM. Duyck and Crespin's posters
are very popular here, the former putting into them

CANDLESTICK IN WROUGHT IRON

DESIGNED BY M. HAUKAR

all his fertile and graceful qualities as a vignet-
tist, and M. Crespin displaying his gifts of ingenious
and clever decoration. M. Crespin also shows
some designs for carpets, tapestries, sgraffiti, and
wall-papers. Among the latter, the design called
Les Poissons is very happily composed, and truly
charming in colour. M. Haukar exhibits some
very original plans and sections of houses, also
some designs for stained glass, and a candlestick
in wrought-iron, of unusual form—(See illustra-
tion).

At the present moment MM. Haukar and
Crespin are busily engaged in carrying out a re-
markable and entirely novel scheme in connection
with the Brussels Universal Exhibition of 1897.
The idea is a vast one, but it must be dealt with
very briefly here.

The conspicuous success of the Antwerp Exhi-
bition of 1894 was the reconstruction of "Old
Antwerp." Seeing this MM. Haukar and Crespin
said to themselves, " Let us consider our own times.
Why not look ahead of us, instead of at the past?
Let us take into consideration the progress already
achieved, and the new material at our disposal.
Let us suggest the erection within the precincts of
the new Exhibition of an entire quartier of Brussels,
not of the 16th, but of the 20th century. Thereby
we shall encourage the pioneer artists, who often
find it hard to place the new creations of their
talent." The work thus suggested is now well ad-
vanced, and the plans promise a most successful
outcome of an interesting idea. MM. Haukar and
Crespin proclaimed their scheme in a letter ad-
dressed to several Belgian and French art journals
in July 1894, and they acted wisely in fixing the
date of their enterprise, in view of piracies, which,
it seems, are already looming.

F. K.

BERLIN.—In the summer of 1889, two
young painters, Otto Modersohn and
Fritz Mackensen arrived in an un-
frequented part of North Germany,
not far from Bremen—a district which
seemed to promise little in the way of landscape
beauty, being chiefly fenland, and known gene-
rally as " Teufelsmoor"—or Devil's moor. There
is a little town there—Worpswede. The peculiar
melancholy and gloom of the scenery induced the
two artists to make a long stay there, and they
began to work on the sights around them—simple
Nature in her ever-changing moods, and the
peasant folk in their every-day life.

Other young artists followed them—among the
rest Hans am Ende. Work of all kinds was done
—painting and etching, landscapes, figure-studies,
anything the surroundings offered, and of which
they had intimate knowledge. For a long time
the rest of Germany knew nothing of this little
colony of artists, until at last, in the summer of
1895, the " Worpsweder," as they styled themselves,
made their appearance at the Munich Exhibition.
Their success was complete. One of Modersohn's

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