DOI issue:
No. 52 (July, 1897)
DOI article:Sparrow, Walter Shaw: Constantin Meunier: the artist of the Flemish collieries
DOI Page / Citation link: https://doi.org/10.11588/diglit.18389#0101
( onstantin Mennier
btt watched a miner
labouring under a greal
mass <>f CO&L II there \s
a blemish in this work it is
to be found in the man's
lean back : for a half-naked
collier, when seen in the
dim, uncertain light under-
ground, looks gigantic, her-
culean. The strong ele-
ments of style in the bas-
relief of Industry\ in the
statuette of The Skinnier,
and in that of the Dock
Labourer, give something
of a classic, ideal charm to
the robust naturalism by
which each of these fine
conceptions is marked.
These small statues, so
vigorous and sympathetic
in handling, so dignified in
their simplicity and repose
of line, are, I am inclined
to think, the most truly
statuesque of all M. Meu-
nier's achievements as a
sculptor. Yet, examine
them carefully, and you
will, I think, find that a
painter's hand betrays itself
here and there, though not
so plainly as in the com-
position of that noble group
" brickmakers " bas-relief by c. meunier of Brickmakers. The Ecce
Homo, a statuette in bron/.e,
to which I have already
gloom is tiresome ; and Constantin Meunier must alluded, and which made so profound an impres-
know that the blemish collier is no enemy to sion at the Champ de Mars Salon in 1892, is com
mirth. It is noticed, in fact, all the world over, monly regarded as the sculptor's masterpiece, and
that men are seldom more cheerful than when they I wish I had an illustration of it to place before
earn their daily bread in the midst of danger. But you. Mr. Claude Phillips said at the time that
it is an ungracious task thus to pick holes in the this little sitting figure of Christ, a mere statuette in
work of a really great artist, a genuine man of genius, dimensions, was undoubtedly one of the finest
A few remarks must now be made on the illus- things of the year, by virtue of its breadth of hand-
trations which give interest to this study. I regret ling, its accent, and, above all, its intensely human
very much that it is only possible to give one pathos.
example of the artist's early work as a painter of One cannot but agree with this criticism, and yet
the Flemish collier's life and sufferings. But I be- we must not lose sight for a moment of the indus-
lieve this one example will be found most interest- trial greatness of the art of Constantin Meunier. It
ing, full of character, sympathy, and power. The is about ten years ago since I ventured to draw
Belgian black Country is very well typified in two attention for the first time to the wealth of varied
of the illustrations, and the Collier at Work is ad- life, to the exhaustless fund of artistic- inspiration,
mirably posed, as will be granted by any one who to be found in our dockyards, collieries and pot-
84
btt watched a miner
labouring under a greal
mass <>f CO&L II there \s
a blemish in this work it is
to be found in the man's
lean back : for a half-naked
collier, when seen in the
dim, uncertain light under-
ground, looks gigantic, her-
culean. The strong ele-
ments of style in the bas-
relief of Industry\ in the
statuette of The Skinnier,
and in that of the Dock
Labourer, give something
of a classic, ideal charm to
the robust naturalism by
which each of these fine
conceptions is marked.
These small statues, so
vigorous and sympathetic
in handling, so dignified in
their simplicity and repose
of line, are, I am inclined
to think, the most truly
statuesque of all M. Meu-
nier's achievements as a
sculptor. Yet, examine
them carefully, and you
will, I think, find that a
painter's hand betrays itself
here and there, though not
so plainly as in the com-
position of that noble group
" brickmakers " bas-relief by c. meunier of Brickmakers. The Ecce
Homo, a statuette in bron/.e,
to which I have already
gloom is tiresome ; and Constantin Meunier must alluded, and which made so profound an impres-
know that the blemish collier is no enemy to sion at the Champ de Mars Salon in 1892, is com
mirth. It is noticed, in fact, all the world over, monly regarded as the sculptor's masterpiece, and
that men are seldom more cheerful than when they I wish I had an illustration of it to place before
earn their daily bread in the midst of danger. But you. Mr. Claude Phillips said at the time that
it is an ungracious task thus to pick holes in the this little sitting figure of Christ, a mere statuette in
work of a really great artist, a genuine man of genius, dimensions, was undoubtedly one of the finest
A few remarks must now be made on the illus- things of the year, by virtue of its breadth of hand-
trations which give interest to this study. I regret ling, its accent, and, above all, its intensely human
very much that it is only possible to give one pathos.
example of the artist's early work as a painter of One cannot but agree with this criticism, and yet
the Flemish collier's life and sufferings. But I be- we must not lose sight for a moment of the indus-
lieve this one example will be found most interest- trial greatness of the art of Constantin Meunier. It
ing, full of character, sympathy, and power. The is about ten years ago since I ventured to draw
Belgian black Country is very well typified in two attention for the first time to the wealth of varied
of the illustrations, and the Collier at Work is ad- life, to the exhaustless fund of artistic- inspiration,
mirably posed, as will be granted by any one who to be found in our dockyards, collieries and pot-
84