Studio: international art (15.1899)

Studio- Talk

rise in the Wood, Gilsoul's Trees on the Flemish Coast, some very good landscapes by Jacob and Willem

Courtens' Morning in the Wood and Winter, Franz Maris.
Hens' A Foggy Night at Sea, Lemayeur's Sunset,

Verwee's Cows, Gouneloos' Widow, and Mauvais The Germans were very well represented by a

Jours, here reproduced; and. others by Claus, De beautiful landscape by Bartels; Dettman's In the

Smeth, Diercks, Farazyn, Hamesse, Heins, Hey- Meadow; Death of the Wolf, by Hermann; and

mans, Larock, Crabeels, Julietta Wytsman, and G. Fighting Cocks, by Van Heyden, all admirable of

M. Stevens. their kind. Koner's Portrait of Menzel, and Konig's

Madonna and Child were also good.

The Dutch part of the Exhibition was excep- -

tionally good, especially Moon Effect, by Dake, The French section was not particularly remark-

Evening, by De Bock, Gloaming, by Israels, able. Coquetterie, by Garrido, and Rosa Bonheur's

Mesdag's sea-scape, Mrs. Mesdag's On the Road Wild Cat were both excellent, but for the most

to Otterloo, Blommer's The First Baby, all very part France was best represented by the foreigners

beautiful, but it seems a pity that the Dutch who have made Paris their home. ConnelFs Sum-

artists do not vary their subjects a little more, trier's Height, Iwill's night scene, Humphreys

Amongst the best exhibits of the Dutch school Johnston's Belle Isle en Mer, Thaulow's Vue de

were Bauer's Palitana, Karsen's Old Houses, and la Jetee a Dieppe, were amongst the best works.

In the sculpture section the chief
exhibits were Meunier's Mother's
Delight and Le Debardeur, Juliaan
Dillen's Candida and Silence of the
Grave, Dupon's Eagle Defending
its Prey against a Tiger, Braecke's
Harpagon, and Rousseau's Medita-
tion.

P. de M.

DRESDEN.—There is
an exhibition of some
thirty odd pictures by
Wilhelm Ritter now
open at Arnold's Gal-
leries. The paintings represent a
part of what this excellent land-
scapist has done during the past
three years. There are two paint-
ings by him in the modern rooms
of the Dresden Gallery, and he may
well be said to head the ranks of
the younger landscapists here, as
Preller does those of the older men.

A one-man show, when that man
is a landscape painter of the modern
school, is a test for both artist and
public, and it speaks highly for Ritter
that he so well succeeds in interest-
ing the visitors to Arnold's. At
present, landscapes hardly appeal to
the public as subjects. The men of
to-day do not paint romantic moon-
'the pond in the fields" by w. ritter light scenes, extraordinary freaks