DOI Heft:
No. 74 (May 1899)
DOI Artikel:Studio-talk
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.19231#0306
Studio-Talk
artists represented here I am not sure that they exquisite, and full of sensitive delicacy and har-
share the colour theories of which M. Signac has monious expression of the most personal kind,
made himself the exponent in his curious and -
exhaustive work, " D'Eugene Delacroix au Ne'o- Thg Sculpture section contains works by MM.
Impressionisme." Among such are MM. Maurice Armand Charpentier, G. Lacombe, and Georges
Denis, Hermann-Paul, Rippl-Ronai, K. X. Roussel, Minne> th{J Belgian sculptor> who exhibits severai
P. Ranson, Serusier (whose decorative work thingg of thg highest merft) recalling the sincere
strangely recalls the manner of Mr. Heywood and melancholy spirit of the Middle Ages.
Sumner), Vallotton (less interesting as a picture q jyj-
painter than as a draughtsman), P. Bonnard,
Odilon Redon, Angrand, H. E. Cross, Petitjean,
A. Andre, G. D. Monfried, d'Espagnat, Roussel- 1 "V RUSSELS.—The private exhibitions of
Masure, Valtat, Bernard, Filiger, and A. de la J C. W. Bartlett and J. Ensor brought
Rochefoucauld. I must admit that I do not care to a close the series of little winter
much for this kind of work. Almost the only I m shows organised by the Cercle Artis-
exception I feel able to make is in the case of tique. Mr. Bartlett displayed an im-
M. Vuillard, whose Seines dlnterieur are truly posing collection of oils and water-colours. He is
at his best in depicting
Dutch scenery, and no one
has succeeded so well as he
in portraying this particular
style of landscape, with its
interminable green plains
intersected by long canals
tapering away to the hori-
zon. From his drawing and
his colouring it is evident
he has studied Japanese art,
and studied it right back to
its fundamental principles,
not contenting himself, as
so many others have done,
with imitating, more or less
cleverly, certain of its curious
but superficial aspects.
J. Ensor, on the other
hand, is a quaint and fanci-
ful artist, with a sort of grim
humour, who, side by side
with landscapes, sea-pieces,
and portraits, showing great
skill and delicacy of handl-
ing, exhibits a number of
wild and incoherent carica-
tures.
M. Edmond Verstraeten
at the same time exhibited
a series of landscapes—
remarkable, if sometimes
' FEMME HOLLANDAISE ET SON ENFANT " t0° haSty, Studies of light
FROM A PAINTING BY FERDINAND LUIGINI effects.
282
artists represented here I am not sure that they exquisite, and full of sensitive delicacy and har-
share the colour theories of which M. Signac has monious expression of the most personal kind,
made himself the exponent in his curious and -
exhaustive work, " D'Eugene Delacroix au Ne'o- Thg Sculpture section contains works by MM.
Impressionisme." Among such are MM. Maurice Armand Charpentier, G. Lacombe, and Georges
Denis, Hermann-Paul, Rippl-Ronai, K. X. Roussel, Minne> th{J Belgian sculptor> who exhibits severai
P. Ranson, Serusier (whose decorative work thingg of thg highest merft) recalling the sincere
strangely recalls the manner of Mr. Heywood and melancholy spirit of the Middle Ages.
Sumner), Vallotton (less interesting as a picture q jyj-
painter than as a draughtsman), P. Bonnard,
Odilon Redon, Angrand, H. E. Cross, Petitjean,
A. Andre, G. D. Monfried, d'Espagnat, Roussel- 1 "V RUSSELS.—The private exhibitions of
Masure, Valtat, Bernard, Filiger, and A. de la J C. W. Bartlett and J. Ensor brought
Rochefoucauld. I must admit that I do not care to a close the series of little winter
much for this kind of work. Almost the only I m shows organised by the Cercle Artis-
exception I feel able to make is in the case of tique. Mr. Bartlett displayed an im-
M. Vuillard, whose Seines dlnterieur are truly posing collection of oils and water-colours. He is
at his best in depicting
Dutch scenery, and no one
has succeeded so well as he
in portraying this particular
style of landscape, with its
interminable green plains
intersected by long canals
tapering away to the hori-
zon. From his drawing and
his colouring it is evident
he has studied Japanese art,
and studied it right back to
its fundamental principles,
not contenting himself, as
so many others have done,
with imitating, more or less
cleverly, certain of its curious
but superficial aspects.
J. Ensor, on the other
hand, is a quaint and fanci-
ful artist, with a sort of grim
humour, who, side by side
with landscapes, sea-pieces,
and portraits, showing great
skill and delicacy of handl-
ing, exhibits a number of
wild and incoherent carica-
tures.
M. Edmond Verstraeten
at the same time exhibited
a series of landscapes—
remarkable, if sometimes
' FEMME HOLLANDAISE ET SON ENFANT " t0° haSty, Studies of light
FROM A PAINTING BY FERDINAND LUIGINI effects.
282