DOI Heft:
No. 55 (October, 1897)
DOI Artikel:Studio-talk
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.18390#0082
Studio- Talk
process are many. It is no easy matter to get a
strong colouring in a thin coating, or to make the
enamels harmonise with the white crystal which is
of different composition.
It is worthy of note that, unlike the French art
glass workers, who turn out nothing but useless
knick-knacks at prohibitive prices, the Val St.
Lambert Society devotes its attention to articles of
everyday utility, striving to put as much beauty as
possible within the reach of all. The society could
have no better collaborator than M. Ledru, the
clever artist who designs and executes the various
models, with the chemical assistance of M. Le-
crenier. M. Ledru has been awarded the chief
diplome d'honneur in this department, and never
was such reward more thoroughly deserved.
The poster reproduced on page 57 is a recent
design by Mr. Theo Van Rysselberghe.
F. K.
COPENHAGEN.—This year's "Aca-
demy " is about an average one, in
numbers as well as in quality. Den-
mark boasts landscape painters who
can hold their own, even in the best
company, and their art has that
laudable and desirable distinction that it is
thoroughly national. To none does this apply more
than to Kyhn ; his technique is not always faultless
—a little more breadth would in some instances be
acceptable ; but this wonderful old man, who is now
nearer eighty than seventy, has even within the last
few years painted landscapes which are not only
possessed of great decorative beauty, in the best
sense of the word, but which also bear witness of a
truly artistic and sensitive conception of Nature's
charms and changeful moods. The delicate splen-
dour of some of his " summer evenings," the whole
atmosphere saturated with the lingering glow of the
setting—or set—sun, will surely be difficult for even
one of the great masters from one of the great
countries to rival. Kyhn does not stand particu-
larly well this year, but La Cour and Foss are both
represented by large and excellent landscapes, good
both in line and colour, although Foss still suffers a
little from his tendency to being somewhat hard.
Godfred Christensen, whose treatment is broader
and more modern, also has a very fine landscape of
considerable dimensions, besides smaller ones.
A special charm always attaches to Julius Paul-
sen's pictures, landscapes or otherwise; he is a
colourist of great merit, and his effects are appa-
rently obtained by simple means. He understands
to perfection how to bring numerous acres within
the scope of even the smallest canvas, and his
flitting light and shadows are delightful; they always
fascinate, even if one would not always swear to
their being absolutely true to Nature. Paulsen also
has several portraits, of which one or two are done
in his best manner. Bache, President of the
Academy, and Jerndorff, both have several portraits,
more than one of which could hardly be better. In
spite of their sober treatment, and although every-
thing has been accounted for, there is not a sus-
picion of dryness, and the likeness is in all cases
striking. Another charming portrait, although
much less ambitious, is Michael Ancher's portrait
of his wife; in spile of its simplicity it is a
most stylish little picture. Ancher has also sent a
canvas with some of his beloved Skagen fishermen,
of whom there is no more reliable or talented—and
one might add experienced—depicter than he. Also
a summer day at the seashore, with several female
figures, the whole a little stilted, but of considerable
effect. Viggo Johansen has again chosen a lamp
effect, the occupants of the room again being
several gentlemen, and he handles this subject with
superior skill. His brush is refreshingly broad, and
both his genre and landscape paintings are capitally
rendered, full of atmosphere, and quite free from
all coldness and hardness. The painter for whom
this Academy marks the greatest stride forward is
undoubtedly Irminger. He has successfully over-
come his tendency to dirty or heavy colours, and a
small portrait, with another bought by the National
Gallery, although done in the simplest colours, is
wonderfully telling; he seems to have grasped
the very soul of his model, and one is almost
tempted to suspect that he has given some-
thing of his own besides. Tuxen, of large Court
functions fame, has three small portraits, charming
and clever. Exner has again chosen some Fanoe
girls and episodes for his subjects, and has handled
them in his usual careful, not to say sleek, manner,
and many others have sent pictures just of about
the same stamp and merit as of yore. The Danish
Academy is hardly the place where one may expect
to find unconventional attempts or new departures ;
what there is of that in Denmark has founded a
home of its own, at least for the time being, of
which more anon.
G. B.
58
process are many. It is no easy matter to get a
strong colouring in a thin coating, or to make the
enamels harmonise with the white crystal which is
of different composition.
It is worthy of note that, unlike the French art
glass workers, who turn out nothing but useless
knick-knacks at prohibitive prices, the Val St.
Lambert Society devotes its attention to articles of
everyday utility, striving to put as much beauty as
possible within the reach of all. The society could
have no better collaborator than M. Ledru, the
clever artist who designs and executes the various
models, with the chemical assistance of M. Le-
crenier. M. Ledru has been awarded the chief
diplome d'honneur in this department, and never
was such reward more thoroughly deserved.
The poster reproduced on page 57 is a recent
design by Mr. Theo Van Rysselberghe.
F. K.
COPENHAGEN.—This year's "Aca-
demy " is about an average one, in
numbers as well as in quality. Den-
mark boasts landscape painters who
can hold their own, even in the best
company, and their art has that
laudable and desirable distinction that it is
thoroughly national. To none does this apply more
than to Kyhn ; his technique is not always faultless
—a little more breadth would in some instances be
acceptable ; but this wonderful old man, who is now
nearer eighty than seventy, has even within the last
few years painted landscapes which are not only
possessed of great decorative beauty, in the best
sense of the word, but which also bear witness of a
truly artistic and sensitive conception of Nature's
charms and changeful moods. The delicate splen-
dour of some of his " summer evenings," the whole
atmosphere saturated with the lingering glow of the
setting—or set—sun, will surely be difficult for even
one of the great masters from one of the great
countries to rival. Kyhn does not stand particu-
larly well this year, but La Cour and Foss are both
represented by large and excellent landscapes, good
both in line and colour, although Foss still suffers a
little from his tendency to being somewhat hard.
Godfred Christensen, whose treatment is broader
and more modern, also has a very fine landscape of
considerable dimensions, besides smaller ones.
A special charm always attaches to Julius Paul-
sen's pictures, landscapes or otherwise; he is a
colourist of great merit, and his effects are appa-
rently obtained by simple means. He understands
to perfection how to bring numerous acres within
the scope of even the smallest canvas, and his
flitting light and shadows are delightful; they always
fascinate, even if one would not always swear to
their being absolutely true to Nature. Paulsen also
has several portraits, of which one or two are done
in his best manner. Bache, President of the
Academy, and Jerndorff, both have several portraits,
more than one of which could hardly be better. In
spite of their sober treatment, and although every-
thing has been accounted for, there is not a sus-
picion of dryness, and the likeness is in all cases
striking. Another charming portrait, although
much less ambitious, is Michael Ancher's portrait
of his wife; in spile of its simplicity it is a
most stylish little picture. Ancher has also sent a
canvas with some of his beloved Skagen fishermen,
of whom there is no more reliable or talented—and
one might add experienced—depicter than he. Also
a summer day at the seashore, with several female
figures, the whole a little stilted, but of considerable
effect. Viggo Johansen has again chosen a lamp
effect, the occupants of the room again being
several gentlemen, and he handles this subject with
superior skill. His brush is refreshingly broad, and
both his genre and landscape paintings are capitally
rendered, full of atmosphere, and quite free from
all coldness and hardness. The painter for whom
this Academy marks the greatest stride forward is
undoubtedly Irminger. He has successfully over-
come his tendency to dirty or heavy colours, and a
small portrait, with another bought by the National
Gallery, although done in the simplest colours, is
wonderfully telling; he seems to have grasped
the very soul of his model, and one is almost
tempted to suspect that he has given some-
thing of his own besides. Tuxen, of large Court
functions fame, has three small portraits, charming
and clever. Exner has again chosen some Fanoe
girls and episodes for his subjects, and has handled
them in his usual careful, not to say sleek, manner,
and many others have sent pictures just of about
the same stamp and merit as of yore. The Danish
Academy is hardly the place where one may expect
to find unconventional attempts or new departures ;
what there is of that in Denmark has founded a
home of its own, at least for the time being, of
which more anon.
G. B.
58