DOI Heft:
No. 80 (November, 1899)
DOI Artikel:Studio-talk
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.19783#0163
Studio- Talk
that the enmity between the two parties should have
gone so far as to prevent one of them from taking part
in the Exhibition in Paris next year, although this
party, " The Society of Swedish Artists," represents
almost three-fourths of the Swedish artists.
The respective exhibitions bear witness that
interesting personalities in both these societies are
striving to realise their ideals, and it is essential to
place their works side by side in any general treatise
on the art of the North. The great event of this
year was a painting by Count von Rosen, who never
allows his art to suffer because of the historical
motive of his work.
In spite of the long-nourished idea of the oppo-
site party that Professor Kronberg's art was doomed
to oblivion, they were nevertheless obliged to own
that his recently exhibited portrait of an old gen-
tleman, reproduced on page 141, proved that the
deeply studied and refined art of this genial painter
will probably outlive many modes (Tun jour.
Mr. Gustaf Ankarcrona and Mr. G. Hallstrom
are two young painters possessing interesting per-
sonal styles. Through the medium of the latter a
fair future for Swedish decorative art is assured.
All these painters belong to " The Society of
Swedish Artists."
The principal members of " The Brotherhood of
Artists " are gradually becoming known in Europe
and America, the name of Anders Zorn being the
most prominent, while Prince Eugen is now their
acknowledged leader, although formally belonging
to the Academical party. Richard Bergh has this
year exhibited the most interesting portrait he has
yet produced. It is equally good in characterisa-
tion and in grace of line, while the rich full tones
in a sombre key are set off against a background of
brilliant red.
The able exponents of interesting personal styles
in landscape art, Karl Nordstrom and Nils Kreiiger,
have reached a high level in their special lines after
years of unceasing labour, and in spite of intense
opposition. Mr. Carl Larsson has completed an '
admirable work this year, a dazzling gem in white,
in which the sad face of a convalescent woman
is grand in its truthful expression of submissive
suffering.
S. F.
BRUSSELS.—The great official Belgian
Salon was held this year at Ghent. As
was the case in 1895, the organising
committee did not confine itself to
classing and placing the more or less
interesting works of Belgian artists of established or
of budding reputation, but also sent special invita-
tions to a few carefully selected foreign artists. By
this means a large number of French, Dutch,
German, English, and Scotch works were brought
together, and these unquestionably constitute the
chief interest of the Salon.
Two paintings stand out prominently from among
the rest, namely, Fantin-Latour's portrait group,
La Le(o?i de Dessin, and the big picture by Struys—
D'esesper'e. The first of these, which was done a
score of years ago, is one of those strong and
simple creations which impress one by their calm
nobility and the grave harmony of their execution.
M. Struys' canvas is already famous, having made
a triumphant tour through Paris, Munich, and
Brussels, and, seeing it again, one must continue to
admire its bold and dashing style.
The Brussels painter, E. Motte, has just pub-
lished a work of elementary instruction in art, under
the title of " Une Heure dArt; pour aider a
l'education du peuple et de la jeunesse, par un
Peintre Flamand." The brochure contains a simple
exposition of the principles of esthetics and a
closely condensed series of "tableaux chronolo-
giques." Says the author, by way of conclusion :
" May these few pages, hastily written, with no pre-
tension beyond that of being useful, help to spread
a love of the Beautiful in the heart of the people.
To every man is given the ability to perfect him-
self, to improve, and the regular contemplation of
works of art is a powerful aid towards this end.
Let the people become worthy of governing them-
selves. Art is not merely the privilege of the few,
it is part of the common heritage of humanity, and
speedily to attain to this noble inheritance will be
the lot of those who earnestly desire it. Yes, a
noble inheritance it is, for all else is fleeting. A
few vestiges of art are all that remain of the history
of mankind in the flight of the ages." F. K.
MILAN.—A question of exceptional
importance, concerning as it does
our most famous monument, is at the
present moment agitating all Milan.
T43
that the enmity between the two parties should have
gone so far as to prevent one of them from taking part
in the Exhibition in Paris next year, although this
party, " The Society of Swedish Artists," represents
almost three-fourths of the Swedish artists.
The respective exhibitions bear witness that
interesting personalities in both these societies are
striving to realise their ideals, and it is essential to
place their works side by side in any general treatise
on the art of the North. The great event of this
year was a painting by Count von Rosen, who never
allows his art to suffer because of the historical
motive of his work.
In spite of the long-nourished idea of the oppo-
site party that Professor Kronberg's art was doomed
to oblivion, they were nevertheless obliged to own
that his recently exhibited portrait of an old gen-
tleman, reproduced on page 141, proved that the
deeply studied and refined art of this genial painter
will probably outlive many modes (Tun jour.
Mr. Gustaf Ankarcrona and Mr. G. Hallstrom
are two young painters possessing interesting per-
sonal styles. Through the medium of the latter a
fair future for Swedish decorative art is assured.
All these painters belong to " The Society of
Swedish Artists."
The principal members of " The Brotherhood of
Artists " are gradually becoming known in Europe
and America, the name of Anders Zorn being the
most prominent, while Prince Eugen is now their
acknowledged leader, although formally belonging
to the Academical party. Richard Bergh has this
year exhibited the most interesting portrait he has
yet produced. It is equally good in characterisa-
tion and in grace of line, while the rich full tones
in a sombre key are set off against a background of
brilliant red.
The able exponents of interesting personal styles
in landscape art, Karl Nordstrom and Nils Kreiiger,
have reached a high level in their special lines after
years of unceasing labour, and in spite of intense
opposition. Mr. Carl Larsson has completed an '
admirable work this year, a dazzling gem in white,
in which the sad face of a convalescent woman
is grand in its truthful expression of submissive
suffering.
S. F.
BRUSSELS.—The great official Belgian
Salon was held this year at Ghent. As
was the case in 1895, the organising
committee did not confine itself to
classing and placing the more or less
interesting works of Belgian artists of established or
of budding reputation, but also sent special invita-
tions to a few carefully selected foreign artists. By
this means a large number of French, Dutch,
German, English, and Scotch works were brought
together, and these unquestionably constitute the
chief interest of the Salon.
Two paintings stand out prominently from among
the rest, namely, Fantin-Latour's portrait group,
La Le(o?i de Dessin, and the big picture by Struys—
D'esesper'e. The first of these, which was done a
score of years ago, is one of those strong and
simple creations which impress one by their calm
nobility and the grave harmony of their execution.
M. Struys' canvas is already famous, having made
a triumphant tour through Paris, Munich, and
Brussels, and, seeing it again, one must continue to
admire its bold and dashing style.
The Brussels painter, E. Motte, has just pub-
lished a work of elementary instruction in art, under
the title of " Une Heure dArt; pour aider a
l'education du peuple et de la jeunesse, par un
Peintre Flamand." The brochure contains a simple
exposition of the principles of esthetics and a
closely condensed series of "tableaux chronolo-
giques." Says the author, by way of conclusion :
" May these few pages, hastily written, with no pre-
tension beyond that of being useful, help to spread
a love of the Beautiful in the heart of the people.
To every man is given the ability to perfect him-
self, to improve, and the regular contemplation of
works of art is a powerful aid towards this end.
Let the people become worthy of governing them-
selves. Art is not merely the privilege of the few,
it is part of the common heritage of humanity, and
speedily to attain to this noble inheritance will be
the lot of those who earnestly desire it. Yes, a
noble inheritance it is, for all else is fleeting. A
few vestiges of art are all that remain of the history
of mankind in the flight of the ages." F. K.
MILAN.—A question of exceptional
importance, concerning as it does
our most famous monument, is at the
present moment agitating all Milan.
T43