Studio- Talk
(it the Brussels Exhibition attracted considerable
notice, being noteworthy both in execution and in
design.
The high reputation of that remarkable artist,
the late [oseph Stevens, has been considerably
aMk (\ to by the exhibition of thirty of his works
at the Maison d'Art in Brussels. In his day
people looked for a "pretty bit of painting,'1
precise and solid in drawing, with colours rich and
delicate, and cunningly applied. And although
in some of his works—Le Grand MarcM aux
Ckiens, for instance, in the Brussels Gallery
one recognises the influence of Courbet and I >e-
camps, and in others that of his brother Alfred,
they are nevertheless entirely personal in point of
technique^ notably Le Chien a la Moi/che, from the
Marlier collection, which is truly wonderful. All
the canvases by Stevens exhibited on this occasion
come from private collections, for the most part
inaccessible to the public, and the committee of
the Maison d'Art may sincerely be congratulated
on having brought them together in this way.
()n many an occasion one has had good cause
to commend M. Buls, the present Burgomaster of
Brussels, for his zeal in preserving or embellishing
the picturesque and characteristic aspects of the
capital. To him is due the restoration of the
kk Grand' Place," while the completion of the orna-
mentation of the Hotel de Ville and the rebuilding
of the " Maison du Roi " may also be placed to his
credit. In order to show their gratitude for this
constant artistic feeling shown by the Burgomaster,
a number of artists have opened a subscription, on
the initiative of the " Cercle pour PArt," for the
purpose of presenting M. Buls with a commemora-
te e work of art.
The small exhibitions, which are rapidly follow-
ing one another this winter in the galleries of the
Brussels Art Club, are, generally speaking, of little
interest. There is too much evidence of com
mercial feeling in them all, and one thinks with
lively regret of the collection of early nineteenth-
i entury English work shown last year by M. SedeP
meyer, and of that most interesting and instructive
display of Walter Crane's productions which some
time back attracted crowds—artists and public
alike to the club premises.
M. A. Hannotiau, the excellent lithographer and
designer of posters, whose advertisement for the
" Cercle pour I'Art" was reproduced in THE
5o
Studio, has recently produced two charming little
posters. The drawing is very graceful, but tin
colouring, which is perhaps somewhat too delicate,
renders reproduction next to impossible. One <>i
M. Hannotiau's lithographs, which appeared in tin-
last album published by the Etchers' Society of
Brussels, is worthy of its predecessors, from its
breadth of execution and the deepness of it-
blacks. P. K.
DRESDEN.—The First Dresden In-
ternational Exhibition of Pine Art,
the most remarkable of the season,
as those who saw them all from
Stockholm down to Venice admit,
closed with a small deficit, which, however, is
completely outbalanced by the value of the ex-
pensive decorations that will be utilised for fitting
up the Exhibition Palace next time and thus
greatly reduce the costs of the second show.
Pictures, sculptures, &c, to the value of ,A 17,500
were sold, which is a good figure, considering that
Dresden has as yet no reputation as a picture
market.
That the Board of Directors succeeded in
arranging a beautiful show there can be no doubt,
but to their business methods objections could be
made. The way in which financial matters were
arranged with artists called forth serious complaints
both from here and from abroad, and trouble
seemed brewing when it was announced that the
same committee would conduct the next exhibition.
The society of artists known as the Dresden
Secessionists threatened to withdraw, but fortunately
all differences are about to be adjusted, and security
will be given that artists will be treated with due
civility and fairness upon the next occasion.
The next Art Exhibition, to take place in the
summer of 1899, will be national, while an in-
ternational one will follow again in j 900 (or 1901 ),
and the two will probably alternate thereafter.
IP \\. S.
BERLIN.—The Autumn exhibitions, as
usual, began to open earl}', and fol-
lowed one another in quick succession.
The critic who considers them from
anything like a loft)' standpoint, en
deavouring to discover the common characteristics
of modern effort, to understand what it is that
distinguishes the art of the present da\ from thai
of former periods, must needs find hmisell in
(it the Brussels Exhibition attracted considerable
notice, being noteworthy both in execution and in
design.
The high reputation of that remarkable artist,
the late [oseph Stevens, has been considerably
aMk (\ to by the exhibition of thirty of his works
at the Maison d'Art in Brussels. In his day
people looked for a "pretty bit of painting,'1
precise and solid in drawing, with colours rich and
delicate, and cunningly applied. And although
in some of his works—Le Grand MarcM aux
Ckiens, for instance, in the Brussels Gallery
one recognises the influence of Courbet and I >e-
camps, and in others that of his brother Alfred,
they are nevertheless entirely personal in point of
technique^ notably Le Chien a la Moi/che, from the
Marlier collection, which is truly wonderful. All
the canvases by Stevens exhibited on this occasion
come from private collections, for the most part
inaccessible to the public, and the committee of
the Maison d'Art may sincerely be congratulated
on having brought them together in this way.
()n many an occasion one has had good cause
to commend M. Buls, the present Burgomaster of
Brussels, for his zeal in preserving or embellishing
the picturesque and characteristic aspects of the
capital. To him is due the restoration of the
kk Grand' Place," while the completion of the orna-
mentation of the Hotel de Ville and the rebuilding
of the " Maison du Roi " may also be placed to his
credit. In order to show their gratitude for this
constant artistic feeling shown by the Burgomaster,
a number of artists have opened a subscription, on
the initiative of the " Cercle pour PArt," for the
purpose of presenting M. Buls with a commemora-
te e work of art.
The small exhibitions, which are rapidly follow-
ing one another this winter in the galleries of the
Brussels Art Club, are, generally speaking, of little
interest. There is too much evidence of com
mercial feeling in them all, and one thinks with
lively regret of the collection of early nineteenth-
i entury English work shown last year by M. SedeP
meyer, and of that most interesting and instructive
display of Walter Crane's productions which some
time back attracted crowds—artists and public
alike to the club premises.
M. A. Hannotiau, the excellent lithographer and
designer of posters, whose advertisement for the
" Cercle pour I'Art" was reproduced in THE
5o
Studio, has recently produced two charming little
posters. The drawing is very graceful, but tin
colouring, which is perhaps somewhat too delicate,
renders reproduction next to impossible. One <>i
M. Hannotiau's lithographs, which appeared in tin-
last album published by the Etchers' Society of
Brussels, is worthy of its predecessors, from its
breadth of execution and the deepness of it-
blacks. P. K.
DRESDEN.—The First Dresden In-
ternational Exhibition of Pine Art,
the most remarkable of the season,
as those who saw them all from
Stockholm down to Venice admit,
closed with a small deficit, which, however, is
completely outbalanced by the value of the ex-
pensive decorations that will be utilised for fitting
up the Exhibition Palace next time and thus
greatly reduce the costs of the second show.
Pictures, sculptures, &c, to the value of ,A 17,500
were sold, which is a good figure, considering that
Dresden has as yet no reputation as a picture
market.
That the Board of Directors succeeded in
arranging a beautiful show there can be no doubt,
but to their business methods objections could be
made. The way in which financial matters were
arranged with artists called forth serious complaints
both from here and from abroad, and trouble
seemed brewing when it was announced that the
same committee would conduct the next exhibition.
The society of artists known as the Dresden
Secessionists threatened to withdraw, but fortunately
all differences are about to be adjusted, and security
will be given that artists will be treated with due
civility and fairness upon the next occasion.
The next Art Exhibition, to take place in the
summer of 1899, will be national, while an in-
ternational one will follow again in j 900 (or 1901 ),
and the two will probably alternate thereafter.
IP \\. S.
BERLIN.—The Autumn exhibitions, as
usual, began to open earl}', and fol-
lowed one another in quick succession.
The critic who considers them from
anything like a loft)' standpoint, en
deavouring to discover the common characteristics
of modern effort, to understand what it is that
distinguishes the art of the present da\ from thai
of former periods, must needs find hmisell in