DOI Heft:
No. 41 (August, 1896)
DOI Artikel:Studio-talk
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.17297#0195
Sttidio- Talk
16th century, all representing flowers. The care
bestowed on his work by the unknown painter
of these studies is truly extraordinary. One can-
not imagine anything more scrupulously, more
religiously, exact. The colours moreover are for
the most part of marvellous freshness, the tulips
being particularly worthy of notice on this account.
of the Second Empire, with its receptions at
Compiegne, and its fvtes at the Tuileries. The
more important pieces, destined for the decoration
of public monuments, display a quite exceptional
gift of expressing movement, and in all a sureness
of touch is accompanied by much grace of
attitude and charm of line.
A very respectable collection of the works of Ixelles, one of the suburbs of Brussels, has
the well-known French sculptor, J. B. Carpeaux, just concluded its competitive display of facades
has been brought together at the Maison d'Art, in and signboards, which has proved decidedly
Brussels. They all speak eloquently of the period superior to the similiar competition arranged
about a year ago in Brussels itself.
There is still too great display of
colour, however, and far too much
wrought-iron work. These sign-
boards or lamps, twisted in all sorts
of horrible shapes, and hanging
dangerously over the cornices from
the gaping jaws of fantastic animals,
are apt to inspire alarm rather than
admiration. Two of the facades
attract special attention. One ot
them, very brilliant in colour, too
brilliant perhaps, and certainly with
too much gilding about it, is the
work of M. Legraive; while the
other, a modest decoration for a
baker's shop, has been produced by
MM. Hankar and Crespin. In the
centre of the design is an allegorical
figure,Ceres,while the wheat-sheaves,
and corn-flowers and poppies
around, make up a body of simple
colouring. The windows and the
doorway are gracefully framed in
blue, and over the door is sus-
pended a long-handled shovel for
putting the bread in the oven.
This piece of decoration gained the
first prize for artistic execution.
F. K.
URIN.—The first trien-
nial exhibition of Fine
Arts, of which I pro-
mised last month to
give a more detailed
notice, proved to be a triumph for
the landscapists. At the same time
there were several excellent figure
pictures—A. Faldi's Un Dubbio, for
baker's-shop at ixelles. decorated by mm. hankar and crespin instance, a work full of the deepest
(See Brussels Studio-Talk) and most delicate sentiment, as
178
16th century, all representing flowers. The care
bestowed on his work by the unknown painter
of these studies is truly extraordinary. One can-
not imagine anything more scrupulously, more
religiously, exact. The colours moreover are for
the most part of marvellous freshness, the tulips
being particularly worthy of notice on this account.
of the Second Empire, with its receptions at
Compiegne, and its fvtes at the Tuileries. The
more important pieces, destined for the decoration
of public monuments, display a quite exceptional
gift of expressing movement, and in all a sureness
of touch is accompanied by much grace of
attitude and charm of line.
A very respectable collection of the works of Ixelles, one of the suburbs of Brussels, has
the well-known French sculptor, J. B. Carpeaux, just concluded its competitive display of facades
has been brought together at the Maison d'Art, in and signboards, which has proved decidedly
Brussels. They all speak eloquently of the period superior to the similiar competition arranged
about a year ago in Brussels itself.
There is still too great display of
colour, however, and far too much
wrought-iron work. These sign-
boards or lamps, twisted in all sorts
of horrible shapes, and hanging
dangerously over the cornices from
the gaping jaws of fantastic animals,
are apt to inspire alarm rather than
admiration. Two of the facades
attract special attention. One ot
them, very brilliant in colour, too
brilliant perhaps, and certainly with
too much gilding about it, is the
work of M. Legraive; while the
other, a modest decoration for a
baker's shop, has been produced by
MM. Hankar and Crespin. In the
centre of the design is an allegorical
figure,Ceres,while the wheat-sheaves,
and corn-flowers and poppies
around, make up a body of simple
colouring. The windows and the
doorway are gracefully framed in
blue, and over the door is sus-
pended a long-handled shovel for
putting the bread in the oven.
This piece of decoration gained the
first prize for artistic execution.
F. K.
URIN.—The first trien-
nial exhibition of Fine
Arts, of which I pro-
mised last month to
give a more detailed
notice, proved to be a triumph for
the landscapists. At the same time
there were several excellent figure
pictures—A. Faldi's Un Dubbio, for
baker's-shop at ixelles. decorated by mm. hankar and crespin instance, a work full of the deepest
(See Brussels Studio-Talk) and most delicate sentiment, as
178