Studio: international art (19.1900)

Studio-

<- Talk

bracelet by o. woi.fers

BRUSSELS.—The original idea of a Unhappily the exhibition in question showed
Religious Art Salon, organised by the only too clearly how modern religious art has
committee of the " Durendal" literary descended to the deepest depths of hypocrisy,
review, seemed interesting, for we had both in feeling and in execution. Nevertheless,
heard for years past loud protests against the this exposure should assist the renovating move-
" Ecole de S. Luc," which has long been striving ment on foot, and it is to be hoped the Abbe Moeller
tyrannically to turn religious art in the direction may soon be able to renew his praiseworthy efforts.

of a clumsy imitation of the Gothic. -

—t-i— Very justly has it been said of the Salon of the

"Cercle pour l'Art,"
that its chief characteristics
are sincerity and serious-
ness. Here we find no
mere " official " daubs, no
loud debuts, none of the
customary works of com-
merce, triple-varnished
and gorgeously framed.
Nearly every exhibitor is a
true and sincere artist.
Among the most notable
exhibits are those of M. A.
Verhaeren, M. F. Baes,
M. Jannsens, M. Coppens,
M. Hannotaux, M. Otte-
vaere, M. Laermans, M.
Lynen, M. Vandeneeck-
hondt, and M. Fabry; not
forgetting the clever and
delicate sculptures of M.
V. Rousseau, the embroi-
deries of Mme. de Rudder,
and the dainty jewellery of
M. O. Wolfers.

At a meeting held at
the Cercle Artistique de
Bruxelles, M. Gabriel
Mourey lectured recently
in clear and characteristic
hair-comb by o. wolfers fashion on the art of the

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