DOI issue:
No. 57 (December 1897)
DOI article:Studio-talk
DOI Page / Citation link:https://doi.org/10.11588/diglit.18390#0241
Studio- Talk
by opening the eves of the public to the artistic
movement of the claw
W. S.
BRUSSELS.—The removal, tardy though
it be, of the flags, large and small, the
gilded plaster figures, the masts and
other more or less decorative objects
which were supposed to adorn the
streets of Brussels during the Exhibition, has been
a real relief to the inhabitants ; and even the news-
papers which expressed the greatest enthusiasm for
the promoters of "applied art in the streets," and
this the latest manifestation of their inexhaustible
resource, have been obliged to admit that "it was
high time this deplorable display of discoloured
rags and rubbish was put out of sight " ; with the
further remark that "the experiment is final, and a
lesson to the organisers of our fetes."
One cannot but regret, however, that the lesson
should have been somewhat expensive. More than
" POVEWtLLA " BY PAUL DEVIGNE
100,000 francs, it is said, were squandered on this
"experiment," despite the fact that the lamentable
result had been foreseen by every one, and that
the previous exploits of the same promoters of
"applied art in the streets "were not such as to
inspire much confidence. It is to be hoped that
the question is now thoroughly understood, and that
there will be no repetition of the error.
The " Musee Moderne " has been rearranged by
a committee consisting of MAT. Robie, A. [.
Wauters, and L. Cardon. The change is un-
doubtedly for the better, and several of the gal-
leries, notably those containing the masterpieces of
painting signed " H. Leys" and "Alfred Stevens,"
present a really excellent appearance. M. L.
Cardon has presented to the Museum three
valuable pictures—a quaint portrait by Sir Thomas
Lawrence, a portrait by J. Lies of his confrere
H. Leys, and an open-air picture by M. Leopold
Stevens, a son of Alfred Stevens.
In the sculpture department of the " Muse'e
Moderne " there has been placed a work by M.
Paul Devigne. It is a life-size marble figure, called
Poverella. Like all the productions of this un-
fortunate artist, whose illness has put a stop to his
labours, the present work is marked by the greatest
care, and shows profound knowledge of form and
treatment.
The series of winter Exhibitions has been com-
menced by the Club known as " Le Sillon," in the
few available rooms at the " Muse'e Moderne."
These apartments are being steadily occupied, and
the time will soon come when Brussels, the capital,
will have no place to offer to the newer artistic
associations whose slender means compel them to
ask the hospitality of the State.
The exhibition, announced by M. Y. Mignot's
poster, is interesting as showing the work of a
group of young artists, trained together, so to speak,
under the same influence, yet expressing their
ideas diversely according to their individual tem-
perament. It shows, moreover, how swift and
fleeting are the changes of fashion, even in the
matter of art. In the exhibitions of recent years
everything was bright and clear ; now there is
nothing but sombreness and gloom. A little
while ago, to be "in the movement" one was
obliged to go in for plein air, the natural result
being that the artists of no special originality, who
were in the habit of following the lead of others,
107
by opening the eves of the public to the artistic
movement of the claw
W. S.
BRUSSELS.—The removal, tardy though
it be, of the flags, large and small, the
gilded plaster figures, the masts and
other more or less decorative objects
which were supposed to adorn the
streets of Brussels during the Exhibition, has been
a real relief to the inhabitants ; and even the news-
papers which expressed the greatest enthusiasm for
the promoters of "applied art in the streets," and
this the latest manifestation of their inexhaustible
resource, have been obliged to admit that "it was
high time this deplorable display of discoloured
rags and rubbish was put out of sight " ; with the
further remark that "the experiment is final, and a
lesson to the organisers of our fetes."
One cannot but regret, however, that the lesson
should have been somewhat expensive. More than
" POVEWtLLA " BY PAUL DEVIGNE
100,000 francs, it is said, were squandered on this
"experiment," despite the fact that the lamentable
result had been foreseen by every one, and that
the previous exploits of the same promoters of
"applied art in the streets "were not such as to
inspire much confidence. It is to be hoped that
the question is now thoroughly understood, and that
there will be no repetition of the error.
The " Musee Moderne " has been rearranged by
a committee consisting of MAT. Robie, A. [.
Wauters, and L. Cardon. The change is un-
doubtedly for the better, and several of the gal-
leries, notably those containing the masterpieces of
painting signed " H. Leys" and "Alfred Stevens,"
present a really excellent appearance. M. L.
Cardon has presented to the Museum three
valuable pictures—a quaint portrait by Sir Thomas
Lawrence, a portrait by J. Lies of his confrere
H. Leys, and an open-air picture by M. Leopold
Stevens, a son of Alfred Stevens.
In the sculpture department of the " Muse'e
Moderne " there has been placed a work by M.
Paul Devigne. It is a life-size marble figure, called
Poverella. Like all the productions of this un-
fortunate artist, whose illness has put a stop to his
labours, the present work is marked by the greatest
care, and shows profound knowledge of form and
treatment.
The series of winter Exhibitions has been com-
menced by the Club known as " Le Sillon," in the
few available rooms at the " Muse'e Moderne."
These apartments are being steadily occupied, and
the time will soon come when Brussels, the capital,
will have no place to offer to the newer artistic
associations whose slender means compel them to
ask the hospitality of the State.
The exhibition, announced by M. Y. Mignot's
poster, is interesting as showing the work of a
group of young artists, trained together, so to speak,
under the same influence, yet expressing their
ideas diversely according to their individual tem-
perament. It shows, moreover, how swift and
fleeting are the changes of fashion, even in the
matter of art. In the exhibitions of recent years
everything was bright and clear ; now there is
nothing but sombreness and gloom. A little
while ago, to be "in the movement" one was
obliged to go in for plein air, the natural result
being that the artists of no special originality, who
were in the habit of following the lead of others,
107