DOI Heft:
No. 57 (December 1897)
DOI Artikel:Studio-talk
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.18390#0243
Studio- Talk
flower subjects, and a fondness for beauty of
colouring and material. Moreover, the stamping
of these velvets is perfection itself.
Steinlen has designed a poster, reproduced in
these columns, for a popular journal appearing at
irregular intervals, and entitled La Feuille. It is
a very large lithograph in black, in which the
artist's great gifts of fancy and observation are
strikingly revealed. The treatment of the white
leaves, fluttering like birds above the crowd, is
full of movement and life, and altogether charming.
In the two types in the foreground to the left
there is something recalling the strong, incisive
manner of our great caricaturist, Daumier.
The art of making posters seems to be waning
now-a-days. Owing to the success of several
masters, notably (irasset and Steinlen, draughts-
men of every kind tried their hand at the work.
But it is one demanding special gifts, or at the
least the most scrupulous care in adapting the
drawing and the colouring to the special object in
view. Now, we find the majority of artists with
nothing to show us but that which is either eccentric
and complicated or simply commonplace.
Among the posters recently displayed on the
walls of Faris, we must, however, mention the
Bee Auer and Notre Dame du Travail by M. E.
Moreau - Nekton, M. Foach's design for La
Depcche de Toulouse, and that of M. Roedel for the
Linge Monopole, which, if it cannot be called high
art exactly, nevertheless shows fancy and imagina-
tion. A special word is due to the beautiful
poster which M. Paul Berthon—no stranger to the
readers of The Studio—has designed for M. Kent'
Boylesve's charming novel, " Sainte-Marie des
Fleurs." It is a delightful piece of draughtsman-
ship and colour.
M. Lunois is an earnest worker, whose abilities
have often found appreciation in The Studio.
He has just published a most effective lithograph
in colours, called Ballet. It represents two rows
of dancers in full movement, while in the back-
ground of the plate, behind the footlights
illuminating the scene, one can just see in a sort
i <)<)
flower subjects, and a fondness for beauty of
colouring and material. Moreover, the stamping
of these velvets is perfection itself.
Steinlen has designed a poster, reproduced in
these columns, for a popular journal appearing at
irregular intervals, and entitled La Feuille. It is
a very large lithograph in black, in which the
artist's great gifts of fancy and observation are
strikingly revealed. The treatment of the white
leaves, fluttering like birds above the crowd, is
full of movement and life, and altogether charming.
In the two types in the foreground to the left
there is something recalling the strong, incisive
manner of our great caricaturist, Daumier.
The art of making posters seems to be waning
now-a-days. Owing to the success of several
masters, notably (irasset and Steinlen, draughts-
men of every kind tried their hand at the work.
But it is one demanding special gifts, or at the
least the most scrupulous care in adapting the
drawing and the colouring to the special object in
view. Now, we find the majority of artists with
nothing to show us but that which is either eccentric
and complicated or simply commonplace.
Among the posters recently displayed on the
walls of Faris, we must, however, mention the
Bee Auer and Notre Dame du Travail by M. E.
Moreau - Nekton, M. Foach's design for La
Depcche de Toulouse, and that of M. Roedel for the
Linge Monopole, which, if it cannot be called high
art exactly, nevertheless shows fancy and imagina-
tion. A special word is due to the beautiful
poster which M. Paul Berthon—no stranger to the
readers of The Studio—has designed for M. Kent'
Boylesve's charming novel, " Sainte-Marie des
Fleurs." It is a delightful piece of draughtsman-
ship and colour.
M. Lunois is an earnest worker, whose abilities
have often found appreciation in The Studio.
He has just published a most effective lithograph
in colours, called Ballet. It represents two rows
of dancers in full movement, while in the back-
ground of the plate, behind the footlights
illuminating the scene, one can just see in a sort
i <)<)