Studio: international art (17.1899)

Studio-Talk

for they are appreciated abroad to a degree hardly
realised in England. James Guthrie and Robert
Brough are the favourites here; their poetic vision,
their “ aristocratic ” touch, and their thorough tech-
nical ability being fully appreciated. Other popular
exhibitors are Stevenson, Robertson, Downie, Ham-
ilton, Paterson, Rattray, Coventry, and Watson, and,
by reason of the peculiar grace of their studies of
children, Fulton, Newbery, and Pratt. The greatest
successes of all, however, have been achieved by
John Lavery, George Smith, and Thomas Austen-
Brown, the last named of whom exhibits a vigorous
pastel, entitled Arando. The English and Ameri-
can painters are seen together in one room. Here
we have Watts with his magnificent Baccanie;
Whistler, with his Principessa dei poresi della po?M-
cellana, and Alma Tadema. Other notable
English exhibitors are Bramley, Alfred East,
Brangwyn, Stanhope Forbes, Walter Crane, Moira,

Dudley Hardy, Maurice Greiffenhagen, G. C. Haite,
Stewart, and Clara Montalba. Belgian and French
art is also well represented, and Germany and
Austria have good work to show. Spain sends but
few works, and Russia has a solitary representative
in Schereschewsky. Italian artists, of course, pre-
dominate, and of these the most noteworthy works
are Previati’s Virgin and Child., Cifariello’s bust of
Boecklin, Mentessi’s Visione frisle, Laurenti’s
Nymphea, Trentacoste’s La pile de Niobe, de
Maria’s Les Cypres de la Villa Massimo a Rome,
and Bistolli’s Cristo.

V. P.

BRUSSELS.—The great Belgian artist,
Felicien Rops, recently dead, is at last
represented at the Musde de Bruxelles
by a characteristic drawing, styled La
Parisine, a work lately forming part of
the de Goncourt collec-
tion. It bears this in-
scription : “ A Messieurs

Edmond et Jules de Gon-
court, apres Manette Salo-
mon.” This is a black-
and-white work of the
highest order, nervous and
clear in drawing, and in
colouring of tragic strength.

The new “ Maison du
Peuple ” is completed.
This interesting structure
reflects honour on its
architect, M. Horta, who
has succeeded in realising
to the full the art princi-
ples to which he is devoted.
This vast, plain facade of
horizontal lines is puzzling
to those accustomed to
over - ornamented gables
and to rows of useless
pillars. M. Horta was
invited to construct a
House for the People—■
that is to say, a place
where the working classes
might meet and make their
plans ; accordingly the
architect has proceeded
logically by building not a
Palace but a House, in
portrait bust of boecklin by filippo ciFARiELLo which the necessary inte-

200