DOI Heft:
No. 42 (September, 1896)
DOI Artikel:Studio-talk
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.17297#0268
Studio- Talk
figure of Christ conveying a sense of His universal any case Marr has quite failed to solve the pro-
authority, as Lord of mankind. Spiritual majesty blem. The serpentine lines of his blood-red sky
shines from out the eyes; ineffable kindness, too, attract far more attention than the figure itself,
and unspeakable sadness. One forgets that the Lastly, we have Thoma—often so happy in his re-
drawing of the figure is not very happy, in presence presentation of a simple, direct subject—who por-
of this spiritual countenance, " without a trace of trays a tiresome, spiritless, uninteresting person,
affectation," as Skarbina tells us he wished it to be. whose face has no meaning in it whatever. The
And his wish has been realised. A soft, green picture is only redeemed by a charming landscape
evening sky, with rosy cloudlets floating in it, strikes in the background. _
the same tender note as the figure itself.
_ Thus among all these canvases there is but one
There is plenty of affectation to be found in two which succeeds in realising the desired idea with
of the other pictures, and these, of course, are the an? deSree of completeness. At the same time
favourites of the public. The surest way to please the exhibition is so full of interest that one could
is to make your picture altogether pretty, with no wish the experiment might be repeated, with a
character whatever. These two works may be wider SC0Pe' embracing the artists of all countries,
passed over in silence. Uhde, in his picture, re-' And surely the best Place for such an exhibition
calls Rembrandt's type of Christ—the great would be England, where the subject would be sure
preacher to mankind, with the sunlight playing to arouse general interest.
about His face. I cannot resist the feeling, how- G.
ever, that the head is far too peasant-like. The
accessories point to the special significance of the T "V RUSSELS.—Important changes have
figure, but there is nothing to reveal the inner M been effected at the " Musee Ancien "
nature of Christ. Stuck, for his part, shows us, not here, MM. A. Wauters and Cardon
Christ, but an actor playing the character. The M having been entrusted with the re-
theme was no use to him, for it could not be hanging and the proper classification
handled dramatically. In the notes attached to of the canvases in our National Gallery, in order
his picture Carl Marr asserts the impossibility of to show them to full advantage. The first part of
achieving the task of representing Christ satis- the undertaking was to rearrange the works of
factorily, without complete explanatory accessories. Rubens, Jordaens, Van Dyck, and the other
This difficulty may unreservedly be admitted; in Flemish painters of their day, and the result
PORCELAIN PANELS
248
(See Brussels Studio-Talk)
BY ISIDORE DE RUDDER
figure of Christ conveying a sense of His universal any case Marr has quite failed to solve the pro-
authority, as Lord of mankind. Spiritual majesty blem. The serpentine lines of his blood-red sky
shines from out the eyes; ineffable kindness, too, attract far more attention than the figure itself,
and unspeakable sadness. One forgets that the Lastly, we have Thoma—often so happy in his re-
drawing of the figure is not very happy, in presence presentation of a simple, direct subject—who por-
of this spiritual countenance, " without a trace of trays a tiresome, spiritless, uninteresting person,
affectation," as Skarbina tells us he wished it to be. whose face has no meaning in it whatever. The
And his wish has been realised. A soft, green picture is only redeemed by a charming landscape
evening sky, with rosy cloudlets floating in it, strikes in the background. _
the same tender note as the figure itself.
_ Thus among all these canvases there is but one
There is plenty of affectation to be found in two which succeeds in realising the desired idea with
of the other pictures, and these, of course, are the an? deSree of completeness. At the same time
favourites of the public. The surest way to please the exhibition is so full of interest that one could
is to make your picture altogether pretty, with no wish the experiment might be repeated, with a
character whatever. These two works may be wider SC0Pe' embracing the artists of all countries,
passed over in silence. Uhde, in his picture, re-' And surely the best Place for such an exhibition
calls Rembrandt's type of Christ—the great would be England, where the subject would be sure
preacher to mankind, with the sunlight playing to arouse general interest.
about His face. I cannot resist the feeling, how- G.
ever, that the head is far too peasant-like. The
accessories point to the special significance of the T "V RUSSELS.—Important changes have
figure, but there is nothing to reveal the inner M been effected at the " Musee Ancien "
nature of Christ. Stuck, for his part, shows us, not here, MM. A. Wauters and Cardon
Christ, but an actor playing the character. The M having been entrusted with the re-
theme was no use to him, for it could not be hanging and the proper classification
handled dramatically. In the notes attached to of the canvases in our National Gallery, in order
his picture Carl Marr asserts the impossibility of to show them to full advantage. The first part of
achieving the task of representing Christ satis- the undertaking was to rearrange the works of
factorily, without complete explanatory accessories. Rubens, Jordaens, Van Dyck, and the other
This difficulty may unreservedly be admitted; in Flemish painters of their day, and the result
PORCELAIN PANELS
248
(See Brussels Studio-Talk)
BY ISIDORE DE RUDDER