DOI Heft:
No. 58 (January, 1898)
DOI Artikel:Studio-talk
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.18390#0324
Studio- Talk
The chief defect in the monument is its want of
unity, which is not surprising, seeing how many
hands have been engaged upon it. The general
scheme is M. Janlet's. The low reliefs in white
marble, showing Anspach in profile and a female
figure symbolising the river Senne, were executed
by M. Aerts from models prepared by M. Devigne.
The two side figures in bronze are by M. J. Dillens,
and the St. Michael in gilded bronze, which crowns
the memorial, is the work of M. Braecke, after
M. Devigne's design. M. Braecke also did the
bronze masks for the upper basin; and the six
bronze chimeras (somewhat over-contorted) on the
chief basin are by M. Devreese. The use of all
this white marble, bronze, gilded bronze, blue and
grey stone and red Norwegian granite, produces an
effect of richness somewhat too glaring at present,
perhaps, and needing time to tone it down.
The new album published by the Brussels Society
of Aquafortists is one of the best in this most in-
teresting collection. There is a notable improve-
ment in the plates generally, and some of them,
particularly those by MM. Baertsoen and Rassen-
fosse, are truly remarkable.
The beautiful " Fontaine des Chimeres " by the
sculptor Vander Stappen, which adorned the great
central basin at the Brussels Exhibition, is not to
remain in the state originally projected. The
Government has decided that its final form shall be
in bronze.
M. Rosseels, the well-known landscapist, and
head of the Academy of Fine Arts at Termonde,
has given an exhibition of his work in the Salle
Verlat, at Antwerp. He is among those Belgian
landscape-painters who have been most strongly
opposed to the romantic, bituminous school, and
certainly some of his canvases are excellent ex-
amples of a sincere treatment of nature.
The Salon of the Water-colour Society has been
tastefully arranged as usual, and the general effect
is distinguished by what we call tenue, or style.
There were numerous abstentions among the mem-
bers of the society, but for all that the exhibitors
and the regular "guests" once more display their
customary skill; while the public appear to greet
their old favourites as cordially as ever.
Among the new names one notes that of Mr. C.
W. Bartlett, whose touch and colouring, especially
his yellow and red ochres, are strongly suggestive
272
of Brangwyn. M. Jungmann also attracts attention.
His brushwork recalls the work of Raffaelli about
fifteen years ago.
The English school is represented by two pro-
ductions of Professor Herkomer, one of which, a
portrait miniature, reveals very skilful work ; some
"the snowdrop" by per hasselberg
(See Stockholm Studio-Talk)
shimmering sea-pieces by Miss Clara Montalba;
landscapes of fine effect and velvety colouring by
Mr. Nisbet; and a fanciful submarine study,
cleverly executed, by Mr. Weguelin. One can only
hope the contingent of English water-colourists
may each year become more numerous, in order to
The chief defect in the monument is its want of
unity, which is not surprising, seeing how many
hands have been engaged upon it. The general
scheme is M. Janlet's. The low reliefs in white
marble, showing Anspach in profile and a female
figure symbolising the river Senne, were executed
by M. Aerts from models prepared by M. Devigne.
The two side figures in bronze are by M. J. Dillens,
and the St. Michael in gilded bronze, which crowns
the memorial, is the work of M. Braecke, after
M. Devigne's design. M. Braecke also did the
bronze masks for the upper basin; and the six
bronze chimeras (somewhat over-contorted) on the
chief basin are by M. Devreese. The use of all
this white marble, bronze, gilded bronze, blue and
grey stone and red Norwegian granite, produces an
effect of richness somewhat too glaring at present,
perhaps, and needing time to tone it down.
The new album published by the Brussels Society
of Aquafortists is one of the best in this most in-
teresting collection. There is a notable improve-
ment in the plates generally, and some of them,
particularly those by MM. Baertsoen and Rassen-
fosse, are truly remarkable.
The beautiful " Fontaine des Chimeres " by the
sculptor Vander Stappen, which adorned the great
central basin at the Brussels Exhibition, is not to
remain in the state originally projected. The
Government has decided that its final form shall be
in bronze.
M. Rosseels, the well-known landscapist, and
head of the Academy of Fine Arts at Termonde,
has given an exhibition of his work in the Salle
Verlat, at Antwerp. He is among those Belgian
landscape-painters who have been most strongly
opposed to the romantic, bituminous school, and
certainly some of his canvases are excellent ex-
amples of a sincere treatment of nature.
The Salon of the Water-colour Society has been
tastefully arranged as usual, and the general effect
is distinguished by what we call tenue, or style.
There were numerous abstentions among the mem-
bers of the society, but for all that the exhibitors
and the regular "guests" once more display their
customary skill; while the public appear to greet
their old favourites as cordially as ever.
Among the new names one notes that of Mr. C.
W. Bartlett, whose touch and colouring, especially
his yellow and red ochres, are strongly suggestive
272
of Brangwyn. M. Jungmann also attracts attention.
His brushwork recalls the work of Raffaelli about
fifteen years ago.
The English school is represented by two pro-
ductions of Professor Herkomer, one of which, a
portrait miniature, reveals very skilful work ; some
"the snowdrop" by per hasselberg
(See Stockholm Studio-Talk)
shimmering sea-pieces by Miss Clara Montalba;
landscapes of fine effect and velvety colouring by
Mr. Nisbet; and a fanciful submarine study,
cleverly executed, by Mr. Weguelin. One can only
hope the contingent of English water-colourists
may each year become more numerous, in order to