DOI Heft:
No. 39 (June, 1896)
DOI Artikel:Studio-talk
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.17297#0064
Studio-Talk
Brussels paper) recently wrote that W. Q. Orchard-
son, R.A., was " one of Whistler's most talented
followers," it will be understood that as a rule these
writers are not over-anxious for opportunities such
as these whereby to display their erudition, or their
want of it!
The English school is represented by works of
the highest class, such as the late Lord Leighton's
Perseus and Andromeda, and Sir E. Burne-Jones's
Bride of Libano. With the last-named work these
" critics "—who know nothing of the great artist
but his name, which, indeed, they sometimes write
" John Burns "!—express some disappointment.
So much the better. Real admirers of the master
are at least spared the irritation of hearing the
stupid praise and more than doubtful reverence
commonly expressed for his work. William Stott
of Oldham exhibits his great picture The Two
Sisters, full of poetical feeling and delicate colour-
ing ; Macaulay-Stevenson has a powerful landscape,
and J. Lavery, Paterson and A. Roche all contri-
bute uncommonly good bits of painting, while Mrs.
Stanhope-Forbes sends two interesting little studies.
G. F. Watts, R.A., is seen in a portrait drawing ol
intense character.
In the French section the most notable things
are the delightful portrait of Mile. Bartet, of the
Comedie Francaise, by Dagnan-Bouveret; Des-
valliere's characteristic pastel Les Chasseurs ; E. R.
Menard's Adam and Eve, a truly great work ; and
oils and pastels by L. Simon, J. Beraud, A. Sinet,
and P. Carrier-Belleuse.
German art is seen in powerful work by A.
Boecklin (the subject of a recent article in The
Studio), H. Thoma, Leibl and F. Stuck. There
are also some extraordinarily clever drawings by
A. Menzel, and several pastels by Liebermann.
Nor must I forget—to go back for a moment to
the foreign schools generally—the portrait of Sarah
Bernhardt by Gandara, the landscapes of Thaulow,
the sea-pieces by W. Mesdag and Haverman's
drawings. _
The exhibition also contains a few ivory carv-
ings, certainly the most remarkable being the little
figure by J. Dillens (illustrated), presented by the
City of Brussels to Jamaert, the architect, who
restored the Maison du Roi.
some important work, as does the Belgian medal-
list, F. Dubois; but the gem of the show in the
sculpture section is the almost complete collection
of the work of Jean Carries, kindly lent by M.
Hoentschel. It would take too long to mention in
detail all these wonderful pieces, infinitely delicate
in modelling, perfect in oxidation, and exquisite in
colour, a very "feast for the eyes."
In the Austrian section are landscapes by MM.
Schindler, Ribarz and de Hormann, portraits by
MM. Hynais, Horowitz, von Angeli, and Matejko,
and sculpture by M. Aug. Kuehne, with genre pic-
tures by MM. Pettenkofen and Miiller.
The French medallists, Dupuis and Roty, send
IVORY STATUETTE
BY J. DILLENS
49
Brussels paper) recently wrote that W. Q. Orchard-
son, R.A., was " one of Whistler's most talented
followers," it will be understood that as a rule these
writers are not over-anxious for opportunities such
as these whereby to display their erudition, or their
want of it!
The English school is represented by works of
the highest class, such as the late Lord Leighton's
Perseus and Andromeda, and Sir E. Burne-Jones's
Bride of Libano. With the last-named work these
" critics "—who know nothing of the great artist
but his name, which, indeed, they sometimes write
" John Burns "!—express some disappointment.
So much the better. Real admirers of the master
are at least spared the irritation of hearing the
stupid praise and more than doubtful reverence
commonly expressed for his work. William Stott
of Oldham exhibits his great picture The Two
Sisters, full of poetical feeling and delicate colour-
ing ; Macaulay-Stevenson has a powerful landscape,
and J. Lavery, Paterson and A. Roche all contri-
bute uncommonly good bits of painting, while Mrs.
Stanhope-Forbes sends two interesting little studies.
G. F. Watts, R.A., is seen in a portrait drawing ol
intense character.
In the French section the most notable things
are the delightful portrait of Mile. Bartet, of the
Comedie Francaise, by Dagnan-Bouveret; Des-
valliere's characteristic pastel Les Chasseurs ; E. R.
Menard's Adam and Eve, a truly great work ; and
oils and pastels by L. Simon, J. Beraud, A. Sinet,
and P. Carrier-Belleuse.
German art is seen in powerful work by A.
Boecklin (the subject of a recent article in The
Studio), H. Thoma, Leibl and F. Stuck. There
are also some extraordinarily clever drawings by
A. Menzel, and several pastels by Liebermann.
Nor must I forget—to go back for a moment to
the foreign schools generally—the portrait of Sarah
Bernhardt by Gandara, the landscapes of Thaulow,
the sea-pieces by W. Mesdag and Haverman's
drawings. _
The exhibition also contains a few ivory carv-
ings, certainly the most remarkable being the little
figure by J. Dillens (illustrated), presented by the
City of Brussels to Jamaert, the architect, who
restored the Maison du Roi.
some important work, as does the Belgian medal-
list, F. Dubois; but the gem of the show in the
sculpture section is the almost complete collection
of the work of Jean Carries, kindly lent by M.
Hoentschel. It would take too long to mention in
detail all these wonderful pieces, infinitely delicate
in modelling, perfect in oxidation, and exquisite in
colour, a very "feast for the eyes."
In the Austrian section are landscapes by MM.
Schindler, Ribarz and de Hormann, portraits by
MM. Hynais, Horowitz, von Angeli, and Matejko,
and sculpture by M. Aug. Kuehne, with genre pic-
tures by MM. Pettenkofen and Miiller.
The French medallists, Dupuis and Roty, send
IVORY STATUETTE
BY J. DILLENS
49