DOI Heft:
No. 56 (November, 1897)
DOI Artikel:Uzanne, Octave: On the drawings of M. Georges de Feure
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.18390#0127
Georges De Feure
torture, seem to recall all
the vain and historic
efforts made by man in
his attempts to reach hap-
piness. As that sound
critic, M. Paul Adam, re-
marks in an article deal-
ing with the works of
Georges de Feure : " The
faces of the beings he
depicts in his paintings
have a dreadful look of
dull stolidity at the use-
lessness of striving, and at
the relentless cruelty of
fate."
One of his pictures, La
Course a UAbime, would
make a splendid illustra-
tion of certain passages in
Goethe's " Faust," or of
one of Uhland's ballads.
A wretched mass of hu-
manity is rushing to death
across a bridge, under a
dark mysterious sky. Two
female forms emerge from
the background with a
" L'AMOUREUSE DU MAL " FROM A PAINTING BY GEORGES DE FEURE patch of sharp light, their
anguish - stricken limbs
telling of the hopelessness
growing less, shows a marked advance with each of living, with, on the one side, the inevitable
fresh creation. descent into the abyss, and on the other the
Georges de Feure is one of those whose celebrity insolent voluble prodigality of vegetation, seen in
will be assured in the near future. He only began the foreground, with unheard-of flowers of fairy
to produce his work in 1890, and already he has hues, so bright and full of life that the bird peck-
achieved a great deal in oils, in lithography and in ing near can hardly be distinguished from the
engraving. His lithochromes number a hundred; gorgeous petals. This sombre picture tells of the
his pictures displayed in the past two years at the inevitable transformation of all things—of herb-
Champ de Mars are now hanging in several private age, of bird, of woman, of death itself—moving
galleries, while his posters which have appeared on resistlessly towards that state whence life shall
the street walls in Paris and Brussels are already spring indomitable once more.
as much sought after by collectors as those of The same philosophic idea is recognised in
the young Chicago artist, Will. H. Bradley, to another of his canvases, Fin de Lutte, a keen, clear
whose work that of De Feure bears some resem- landscape with a figure rising in astonishment
blance. at being still alive, and watching the phantom
The whole art of Georges de Feure strives to of danger passing away towards the horizon.
e\pre>s the hereditary misery of man and woman, BAngoisse is the title given to a curious picture
the destiny which leads us on to unknown goals, of two women stretched on the sea-shore, and
.md to reveal under an aspect of calm, patient gazing on the limitless ocean with questioning
passivity the persistence of the sorrows which ac- eyes, yet ever failing to grasp the heart-sickening
1 Ompany or precede or follow every living creature logic of the unceasing murmur of the waves,
here below. His personages on the rack of a " M. Georges de f eme's great power," writes
moral hell, their muscles distended as though under M. Paul Adam, "consists in his impeccable draw
99
torture, seem to recall all
the vain and historic
efforts made by man in
his attempts to reach hap-
piness. As that sound
critic, M. Paul Adam, re-
marks in an article deal-
ing with the works of
Georges de Feure : " The
faces of the beings he
depicts in his paintings
have a dreadful look of
dull stolidity at the use-
lessness of striving, and at
the relentless cruelty of
fate."
One of his pictures, La
Course a UAbime, would
make a splendid illustra-
tion of certain passages in
Goethe's " Faust," or of
one of Uhland's ballads.
A wretched mass of hu-
manity is rushing to death
across a bridge, under a
dark mysterious sky. Two
female forms emerge from
the background with a
" L'AMOUREUSE DU MAL " FROM A PAINTING BY GEORGES DE FEURE patch of sharp light, their
anguish - stricken limbs
telling of the hopelessness
growing less, shows a marked advance with each of living, with, on the one side, the inevitable
fresh creation. descent into the abyss, and on the other the
Georges de Feure is one of those whose celebrity insolent voluble prodigality of vegetation, seen in
will be assured in the near future. He only began the foreground, with unheard-of flowers of fairy
to produce his work in 1890, and already he has hues, so bright and full of life that the bird peck-
achieved a great deal in oils, in lithography and in ing near can hardly be distinguished from the
engraving. His lithochromes number a hundred; gorgeous petals. This sombre picture tells of the
his pictures displayed in the past two years at the inevitable transformation of all things—of herb-
Champ de Mars are now hanging in several private age, of bird, of woman, of death itself—moving
galleries, while his posters which have appeared on resistlessly towards that state whence life shall
the street walls in Paris and Brussels are already spring indomitable once more.
as much sought after by collectors as those of The same philosophic idea is recognised in
the young Chicago artist, Will. H. Bradley, to another of his canvases, Fin de Lutte, a keen, clear
whose work that of De Feure bears some resem- landscape with a figure rising in astonishment
blance. at being still alive, and watching the phantom
The whole art of Georges de Feure strives to of danger passing away towards the horizon.
e\pre>s the hereditary misery of man and woman, BAngoisse is the title given to a curious picture
the destiny which leads us on to unknown goals, of two women stretched on the sea-shore, and
.md to reveal under an aspect of calm, patient gazing on the limitless ocean with questioning
passivity the persistence of the sorrows which ac- eyes, yet ever failing to grasp the heart-sickening
1 Ompany or precede or follow every living creature logic of the unceasing murmur of the waves,
here below. His personages on the rack of a " M. Georges de f eme's great power," writes
moral hell, their muscles distended as though under M. Paul Adam, "consists in his impeccable draw
99