DOI Heft:
No. 63 (June, 1898)
DOI Artikel:Studio-talk
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.21969#0085
St udio-Talk
the members of the Society, but that there will be
a number of separate strong individualities gradually
developing, each on its own ground, and each,
perhaps, in a different direction. And this, after
all, may prove the most interesting part of the
whole movement, since individuality lies at the
root of all genuine art, and what is called a national
trait amounts really to nothing more or less than a
particular feature common to most individuals of
one family.
W. S.
BRUSSELS.—Among the plethora of
little exhibitions at the Cercle Artis-
tique a word must be given to the
recent display by MM. O. Coppens and
Hannotiau, who for a long time past
have taken a delight in showing us in their paint-
ings and drawings scenes from the old city of
Bruges. They accomplish their object in widely
differing fashion. M. Coppens loves to reproduce
the strong effects of sunlight or moonlight on the
placid waters of the canals, and on the ancient
buildings around. M.
Hannotiau, however, is
less precise. He aims
chiefly at expressing the
“ soul of things ” in his
antique houses with their
cleft gables, in his gothic
churches, in his silent
streets, with dark-robed
women passing to and fro.
On the same occasion M.
L. Van Strydonck exhi-
bited some remarkable
jewellery work, very suc-
cessful in point of colour-
ing and in oxidation.
The town of Brussels
has commissioned M. P.
Dubois, the sculptor, to
execute the monument to
be raised on the Place des
Martyrs in memory of
Frederic de Merode.
Some time ago The
Studio reproduced a
marble statue by this
artist—a seated figure of
a woman—now in the
Brussels Gallery.
The third “ Salon d’Art
Idealiste ” at the Maison
d’Art is far superior to its
two predecessors. There
are many works of great
merit, while the absurdly
pretentious element is
almost entirely absent.
M. J. Delville’s large paint-
ing, LEcole de Platon,
is a work which may be
“le silence de la tombe ” by j. dillens warmly praised for its
66
the members of the Society, but that there will be
a number of separate strong individualities gradually
developing, each on its own ground, and each,
perhaps, in a different direction. And this, after
all, may prove the most interesting part of the
whole movement, since individuality lies at the
root of all genuine art, and what is called a national
trait amounts really to nothing more or less than a
particular feature common to most individuals of
one family.
W. S.
BRUSSELS.—Among the plethora of
little exhibitions at the Cercle Artis-
tique a word must be given to the
recent display by MM. O. Coppens and
Hannotiau, who for a long time past
have taken a delight in showing us in their paint-
ings and drawings scenes from the old city of
Bruges. They accomplish their object in widely
differing fashion. M. Coppens loves to reproduce
the strong effects of sunlight or moonlight on the
placid waters of the canals, and on the ancient
buildings around. M.
Hannotiau, however, is
less precise. He aims
chiefly at expressing the
“ soul of things ” in his
antique houses with their
cleft gables, in his gothic
churches, in his silent
streets, with dark-robed
women passing to and fro.
On the same occasion M.
L. Van Strydonck exhi-
bited some remarkable
jewellery work, very suc-
cessful in point of colour-
ing and in oxidation.
The town of Brussels
has commissioned M. P.
Dubois, the sculptor, to
execute the monument to
be raised on the Place des
Martyrs in memory of
Frederic de Merode.
Some time ago The
Studio reproduced a
marble statue by this
artist—a seated figure of
a woman—now in the
Brussels Gallery.
The third “ Salon d’Art
Idealiste ” at the Maison
d’Art is far superior to its
two predecessors. There
are many works of great
merit, while the absurdly
pretentious element is
almost entirely absent.
M. J. Delville’s large paint-
ing, LEcole de Platon,
is a work which may be
“le silence de la tombe ” by j. dillens warmly praised for its
66