DOI issue:
No. 64 (July, 1898)
DOI article:Studio-talk
DOI Page / Citation link:https://doi.org/10.11588/diglit.21969#0152
Studio-Talk
impressive in the assertion which it makes of the
technical strength and the wideness of range which
distinguish the French school. Great care has
been taken in the selection of material for the
exhibition to gather together only those particu-
lar works which deserve attention as really repre-
sentative of the best production of the period to
which they belong. Hardly anything is in-
cluded which is not worthy of high praise, and
quite a large section of the collection consists
of canvases which are veritable masterpieces.
In this category must certainly be placed the
superb Saison Octobre, by Bastien Lepage, M.
Gerome’s Execution of Marshal Ney and Bain
Maure, Meissonier’s Friedland, 1807, M. Carolus
Duran’s Poet with the Mandoline, M. Monet’s
Poplars at Giverny, the Ballet Scene from Roberto
il Diavolo, by M. Degas, Corot’s Le Lac,
Jacque’s Approaching Storm, Daubigny’s Port
de Meulan, and Watteau’s Gamme d'Amour ; and
there are besides many examples of the older
men like Lancret, Boucher, Fragonard, Nattier,
Chardin, and Greuze, and of such moderns as
Dagnan-Bouveret, Detaille, Eugene Burnand,
Henner, Bouguereau, Meunier, Harpignies, and
Puvis de Chavannes, which rank among the best
things in French art.
The annual exhibition of the Home Arts and
Industries Association at the Royal Albert Hall1
showed genuine advance in design; but in the
opinion of most qualified judges hardly a cor-
responding advance in handicraft. Yet when
compared with some three or four years back, a
real advance is distinctly notable. Mere rubbish
in repousse metal, wood-carving, and the rest, is
CUPBOARD DESIGNED BY HON. MABEL DE GREY'
INLAID BY JOHN REASON
Pimlico Class
129
impressive in the assertion which it makes of the
technical strength and the wideness of range which
distinguish the French school. Great care has
been taken in the selection of material for the
exhibition to gather together only those particu-
lar works which deserve attention as really repre-
sentative of the best production of the period to
which they belong. Hardly anything is in-
cluded which is not worthy of high praise, and
quite a large section of the collection consists
of canvases which are veritable masterpieces.
In this category must certainly be placed the
superb Saison Octobre, by Bastien Lepage, M.
Gerome’s Execution of Marshal Ney and Bain
Maure, Meissonier’s Friedland, 1807, M. Carolus
Duran’s Poet with the Mandoline, M. Monet’s
Poplars at Giverny, the Ballet Scene from Roberto
il Diavolo, by M. Degas, Corot’s Le Lac,
Jacque’s Approaching Storm, Daubigny’s Port
de Meulan, and Watteau’s Gamme d'Amour ; and
there are besides many examples of the older
men like Lancret, Boucher, Fragonard, Nattier,
Chardin, and Greuze, and of such moderns as
Dagnan-Bouveret, Detaille, Eugene Burnand,
Henner, Bouguereau, Meunier, Harpignies, and
Puvis de Chavannes, which rank among the best
things in French art.
The annual exhibition of the Home Arts and
Industries Association at the Royal Albert Hall1
showed genuine advance in design; but in the
opinion of most qualified judges hardly a cor-
responding advance in handicraft. Yet when
compared with some three or four years back, a
real advance is distinctly notable. Mere rubbish
in repousse metal, wood-carving, and the rest, is
CUPBOARD DESIGNED BY HON. MABEL DE GREY'
INLAID BY JOHN REASON
Pimlico Class
129