DOI Heft:
Nr. 77 (August 1899)
DOI Artikel:Studio-talk
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.19232#0223
Studio-Talk
chiefly from the realism with which the
external aspect of things was treated,
productions done during the last two
years, in which was evident a strong
endeavour to produce something more,
something better, than a pretty piece of
colouring or some fresh atmospheric
effect; in a word, to express feeling.
The first signs of this change were to be
found in the gigantic triptych La Greve,
and again in the striking work, Zand, wit
Zand! a scene on a day of rain and fog,
with a wretched woman dragging her
heavy barrow, filled with sand, through
the streets of the great town. In these
two pictures the colouring is, perhaps,
a little monotonous and commonplace.
Not so, however, is the painter’s new
manner. He is especially fine in Le
Repas de la Famille du Peclieur, which
ELECTRIC CEILING LUSTRE IN COPPER AND CRYSTAL
BY C. PLUMET AND TONY SELMERSHEIM
(See Paris Studio-Talk)
has been bought by the Antwerp Art
Gallery; also in La Femme du Pecheur
allaitant son Beb'e ; also in his admirable
Tete de Femme Hollandaise ; and, lastly,
in a veritable masterpiece, the central
panel of the triptych, Kinderen der Zee.
This splendid work, which would do
honour to any living Dutch artist, depicts
a fisherman’s wife in tears, her head
buried in the bed-clothes, her husband
away—dead, maybe—while, understand-
ing nothing of his mother’s grief, her
little child looks on in astonishment,
ready to cry himself. This is a picture
conceived, drawn, and painted in equally
masterly style, full of emotion, and irre-
proachable in its subdued colouring.
DECORATION FOR A DINING-ROOM
BY C. PLUMET AND T. SELMERSHEIM
(By permission of M. E. Detaille),
I lately visited at Mol, a large village
of the Antwerp Campine, or Kempen, the
admirably arranged studio of Jacob Smits,
an artist who has taken his place among
the first of his contemporaries. There I
had the opportunity to admire, side by
side with various admirable works already
exhibited—such as En Pri'ere, Ze Pere
Caers (portrait of a peasant), and Mater
Dei (an ideal transcription of the portrait
of the artist’s charming wife, lately de-
ceased)-—several absolutely new works,
194
chiefly from the realism with which the
external aspect of things was treated,
productions done during the last two
years, in which was evident a strong
endeavour to produce something more,
something better, than a pretty piece of
colouring or some fresh atmospheric
effect; in a word, to express feeling.
The first signs of this change were to be
found in the gigantic triptych La Greve,
and again in the striking work, Zand, wit
Zand! a scene on a day of rain and fog,
with a wretched woman dragging her
heavy barrow, filled with sand, through
the streets of the great town. In these
two pictures the colouring is, perhaps,
a little monotonous and commonplace.
Not so, however, is the painter’s new
manner. He is especially fine in Le
Repas de la Famille du Peclieur, which
ELECTRIC CEILING LUSTRE IN COPPER AND CRYSTAL
BY C. PLUMET AND TONY SELMERSHEIM
(See Paris Studio-Talk)
has been bought by the Antwerp Art
Gallery; also in La Femme du Pecheur
allaitant son Beb'e ; also in his admirable
Tete de Femme Hollandaise ; and, lastly,
in a veritable masterpiece, the central
panel of the triptych, Kinderen der Zee.
This splendid work, which would do
honour to any living Dutch artist, depicts
a fisherman’s wife in tears, her head
buried in the bed-clothes, her husband
away—dead, maybe—while, understand-
ing nothing of his mother’s grief, her
little child looks on in astonishment,
ready to cry himself. This is a picture
conceived, drawn, and painted in equally
masterly style, full of emotion, and irre-
proachable in its subdued colouring.
DECORATION FOR A DINING-ROOM
BY C. PLUMET AND T. SELMERSHEIM
(By permission of M. E. Detaille),
I lately visited at Mol, a large village
of the Antwerp Campine, or Kempen, the
admirably arranged studio of Jacob Smits,
an artist who has taken his place among
the first of his contemporaries. There I
had the opportunity to admire, side by
side with various admirable works already
exhibited—such as En Pri'ere, Ze Pere
Caers (portrait of a peasant), and Mater
Dei (an ideal transcription of the portrait
of the artist’s charming wife, lately de-
ceased)-—several absolutely new works,
194