DOI Heft:
No. 53 (August, 1897)
DOI Artikel:Bibb, Burnley: The work of G. Segantini
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.18389#0178
The IVork of G. Segantini
STUDY FOR "ALLA STANGA BY G. SEGANTINI
over these figures and the quiet landscape. Above, entitled Frutto delP Amore, which somehow got
the heavens glow like an opal. itself translated in the " Secession " catalogue into
In an earlier work, Nell 'Ovile, the woman in Der gottliche Knabe, and surely it symbolises a very
the stable among the sheep, her hands, with the earthly mother-love indeed, one might say, and has
perpetual knitting a moment still, fallen in her lap, no intention of mysticism or of religious meaning,
her face turned pensive to the lamplight, the In one of his works of last year he symbolised
cradle in the strong shadows behind her suggesting the springtime of life with a pair of idealised lovers,
divided cares ; in another, the big dun cow in her joined in an embrace and smiling into one another's
littered stall turning her head with rolling eye and faces in the ineffable joy of young love, coming
forward-pointed ears to the woman at her spindle through the blooming rhododendrons of a mountain
in the lantern light, marking a sense of companion- meadow in the glory of the vernal sunshine, toward
ship between these two in the spot of light among a gushing spring, the Fontana del la Vita, where sits
the soft black shadows; in the stir and life of the an angel observing them with thoughtful face,
sheep and lambs upon the sunny Spring Pasture That quality of his art, however, which will
against the quiet of the shepherd lad asleep in the longest live, is not perhaps in pictures such as this,
sunshine; in these, and in those other many works but rather in those homely scenes of peasant life
of his, the inceptive designs for some of which are which he transcribes with such deep sympathy and
printed with this paper, all full of the poetry of the power of insight as leave us thrilling with a sweet
themes he chooses—the love of mothers, the trust sadness which he has likened to music in the heart,
and friendship of the humble masters and their How Segantini feels the witchery of light in
humbler beasts, the simple joys and sorrows of the every key, and how he renders it in every medium,
peasant's life, the glory of the light, the shadow's rest, for he works as well in oils, in crayon, pastel,
the noble beauty of the mountain land—in these fusain, bistre, and the rest of it, one must see his
the power of the painter Segantini declares itself. work in colour to appreciate.
Into the field of symbolism and mystic meaning, His designs and sketches, done in a variant of his
where of late he sometimes wanders, we will not style in oils, though as often as not a mere tangle of
follow him now. woolly lines and. scratches, are ever full of effect.
His mastery in this debatable land is not fully There is usually a suggestion of colour worked
admitted of the critics, one of whom describes a in with strokes and dashes among the black lines,
certain work of his as " wanting the solemnity of scarcely observable in the mass, but giving a
the ancient religious paintings." This picture is wonderful degree of atmosphere.
155
STUDY FOR "ALLA STANGA BY G. SEGANTINI
over these figures and the quiet landscape. Above, entitled Frutto delP Amore, which somehow got
the heavens glow like an opal. itself translated in the " Secession " catalogue into
In an earlier work, Nell 'Ovile, the woman in Der gottliche Knabe, and surely it symbolises a very
the stable among the sheep, her hands, with the earthly mother-love indeed, one might say, and has
perpetual knitting a moment still, fallen in her lap, no intention of mysticism or of religious meaning,
her face turned pensive to the lamplight, the In one of his works of last year he symbolised
cradle in the strong shadows behind her suggesting the springtime of life with a pair of idealised lovers,
divided cares ; in another, the big dun cow in her joined in an embrace and smiling into one another's
littered stall turning her head with rolling eye and faces in the ineffable joy of young love, coming
forward-pointed ears to the woman at her spindle through the blooming rhododendrons of a mountain
in the lantern light, marking a sense of companion- meadow in the glory of the vernal sunshine, toward
ship between these two in the spot of light among a gushing spring, the Fontana del la Vita, where sits
the soft black shadows; in the stir and life of the an angel observing them with thoughtful face,
sheep and lambs upon the sunny Spring Pasture That quality of his art, however, which will
against the quiet of the shepherd lad asleep in the longest live, is not perhaps in pictures such as this,
sunshine; in these, and in those other many works but rather in those homely scenes of peasant life
of his, the inceptive designs for some of which are which he transcribes with such deep sympathy and
printed with this paper, all full of the poetry of the power of insight as leave us thrilling with a sweet
themes he chooses—the love of mothers, the trust sadness which he has likened to music in the heart,
and friendship of the humble masters and their How Segantini feels the witchery of light in
humbler beasts, the simple joys and sorrows of the every key, and how he renders it in every medium,
peasant's life, the glory of the light, the shadow's rest, for he works as well in oils, in crayon, pastel,
the noble beauty of the mountain land—in these fusain, bistre, and the rest of it, one must see his
the power of the painter Segantini declares itself. work in colour to appreciate.
Into the field of symbolism and mystic meaning, His designs and sketches, done in a variant of his
where of late he sometimes wanders, we will not style in oils, though as often as not a mere tangle of
follow him now. woolly lines and. scratches, are ever full of effect.
His mastery in this debatable land is not fully There is usually a suggestion of colour worked
admitted of the critics, one of whom describes a in with strokes and dashes among the black lines,
certain work of his as " wanting the solemnity of scarcely observable in the mass, but giving a
the ancient religious paintings." This picture is wonderful degree of atmosphere.
155