DOI issue:
No. 47 (February, 1897)
DOI article:Studio-talk
DOI Page / Citation link:https://doi.org/10.11588/diglit.18388#0067
Studio-Talk
richness. The decorative motifs are strictly logical Plumet's furniture, which seems quite free from all
in their plan, and utilised most happily. outside influence. I could willingly write at length
- about M. Plumet's display. However fond one
M. Alexandre Charpentier displays a variety of may be of foreign art—though, to be sure, the ex-
articles, including a bell in silver, gold; and enamel; pression is incorrect, for art knows no country—it
apierre fine, representing a woman of Zealand, very is gratifying, nevertheless, to see signs of artistic
finely and decoratively modelled ; two gold and merit at home, for it is a long time since we have
silver brooches ; stamped leathers; bindings ; door- been able to congratulate ourselves in connec-
plates, and locks ; billiard-markers; gaufred papers, tion with modern decorative art. M. Plumet's
coloured and gaufred lithographs (similar to that exhibits—his work-tables and tea-tables, his office
published in the Winter Number of The Studio), chairs, his writing-desks, etagcres and frames, and,
and an earthenware wine-jug and cream-pot, which above all, his book-case—are in the highest sense
go to prove once more how " live " and subtle an thoroughly French, in spirit, in character, and in
artist he is, how skilful in creating new forms, yet tradition, and the artist who has produced them is
remaining always most delicately simple, and, while deserving of all encouragement,
a modern of the moderns, sticking close to the -
traditions of French art. M. Henry Nocq's display consists of jewels and
- gold-work, and his style is novel and consistent,
M. Jean Dampt's glass book-case is at once and shows due regard for the material employed,
practical and uncommon, but I prefer M. Charles Precious stones are used for relief in his gold and
silver and bronze work with the most
satisfactory results. This brief sum-
mary of a very interesting Exhibition
must, I regret to say, suffice for the
present. I hope to have an oppor-
tunity of referring to it later with more
minuteness.
At the Galerie Laffitte, under the
intelligent direction of M. Moline,
who is inclining more and more to-
wards applied art, M. Seguin has
been exhibiting some bonbon boxes
and other little works in wood, of
most original workmanship. On the
natural ground of the woodwork are
drawings and coloured decorations of
the simplest kind, done by quite a
novel process, which is neither stain-
ing nor painting, but a sort of flat,
dull enamel, very pleasant to the
touch. In shape these little articles
are designed on primitive and popu-
lar models, as old as the world itself.
Together with M. Seguin's wood-
work, M. Moline has also been ex-
hibiting three pieces of stoneware by
the sculptor, Carabin, who has here
been most happily inspired. His
inkstand in the form of a cuttle fish,
with a sort of Naiad opening the ink
ban ; his tobacco jar, shaped like a
LIFE-SIZE MARBLE FIGURE BY PAUL DUBOIS &J J /
(See Brussels Studio-Talk) fruit, and his comfit box, m form and
56:
richness. The decorative motifs are strictly logical Plumet's furniture, which seems quite free from all
in their plan, and utilised most happily. outside influence. I could willingly write at length
- about M. Plumet's display. However fond one
M. Alexandre Charpentier displays a variety of may be of foreign art—though, to be sure, the ex-
articles, including a bell in silver, gold; and enamel; pression is incorrect, for art knows no country—it
apierre fine, representing a woman of Zealand, very is gratifying, nevertheless, to see signs of artistic
finely and decoratively modelled ; two gold and merit at home, for it is a long time since we have
silver brooches ; stamped leathers; bindings ; door- been able to congratulate ourselves in connec-
plates, and locks ; billiard-markers; gaufred papers, tion with modern decorative art. M. Plumet's
coloured and gaufred lithographs (similar to that exhibits—his work-tables and tea-tables, his office
published in the Winter Number of The Studio), chairs, his writing-desks, etagcres and frames, and,
and an earthenware wine-jug and cream-pot, which above all, his book-case—are in the highest sense
go to prove once more how " live " and subtle an thoroughly French, in spirit, in character, and in
artist he is, how skilful in creating new forms, yet tradition, and the artist who has produced them is
remaining always most delicately simple, and, while deserving of all encouragement,
a modern of the moderns, sticking close to the -
traditions of French art. M. Henry Nocq's display consists of jewels and
- gold-work, and his style is novel and consistent,
M. Jean Dampt's glass book-case is at once and shows due regard for the material employed,
practical and uncommon, but I prefer M. Charles Precious stones are used for relief in his gold and
silver and bronze work with the most
satisfactory results. This brief sum-
mary of a very interesting Exhibition
must, I regret to say, suffice for the
present. I hope to have an oppor-
tunity of referring to it later with more
minuteness.
At the Galerie Laffitte, under the
intelligent direction of M. Moline,
who is inclining more and more to-
wards applied art, M. Seguin has
been exhibiting some bonbon boxes
and other little works in wood, of
most original workmanship. On the
natural ground of the woodwork are
drawings and coloured decorations of
the simplest kind, done by quite a
novel process, which is neither stain-
ing nor painting, but a sort of flat,
dull enamel, very pleasant to the
touch. In shape these little articles
are designed on primitive and popu-
lar models, as old as the world itself.
Together with M. Seguin's wood-
work, M. Moline has also been ex-
hibiting three pieces of stoneware by
the sculptor, Carabin, who has here
been most happily inspired. His
inkstand in the form of a cuttle fish,
with a sort of Naiad opening the ink
ban ; his tobacco jar, shaped like a
LIFE-SIZE MARBLE FIGURE BY PAUL DUBOIS &J J /
(See Brussels Studio-Talk) fruit, and his comfit box, m form and
56: