DOI Heft:
No. 86 (May, 1900)
DOI Artikel:Studio-talk
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.19784#0296
Studio- Talk
de Vriendt, under whose personal superintendence
they were designed and executed. Unfortunately
the five panels are not of equal merit. That
signed by Houben is a very ordinary piece of
work, the figures having no especial character. The
panel by De Jans is of a higher order, but it is too
suggestive of an easel picture, this being due, no
doubt, to its lack of the necessary style. The
other three panels are far superior. In his Entree
triomphale des Rhetoriciens Farazyn has attained
a tonality which gives the most happy result, his
greens, mauves, and reds, artistically disposed,
forming a colour-scheme of much distinction.
Boom has employed red very largely. His Ouver-
ture de la Bourse is ruddy as a sunset, but in no
way mars the general effect of the series. More-
over, he has been fortunate in his typical figures,
which are full of interest—Flemish patricians and
magistrates of dignified mien and broad, majestic
movements. Several of the heads reveal careful
study, but not all, unhappily. A picturesque
medieval town, seen in perspective, forms an
excellent background.
The best work of all is unquestionably that of
Verhaert, whose Arrivee dun chargemetit de sucre is
a remarkable production. Here the types depicted
are less robust than those of Boom—some, indeed,
appear emaciated, almost sickly; but what character
in the faces, which are, for the most part, handled
like portraits; and what sound archaeological know-
ledge, with no touch of pedantry, in the treatment
of the costumes ! More strictly than any of his
collaborators Verhaert has confined himself to the
prescribed limits of decorative painting, and thus
his work resembles most nearly that of Leys. His
colouring is remarkable both for the vigour of its
tones and for its novelty. It is extremely strong
and bold. Altogether, the ornamentation of the
" Salle de l'Escalier" may be pronounced a
success.
As in previous years, individual exhibitions are
succeeding one another with great rapidity, every
week or two seeing something new. They
are held for the most part in the Verlat-Zaal,
which is very conveniently situated near the
Bourse, and only a few yards from the main
thoroughfare, the Meir. So far there has been
nothing very striking to record. Mention, how-
ever, must be made of the displays of M.
Frans Mortelmans and—more recently—of Mme.
and Mdlle. Ronner. Mortelmans paints flowers
and still-life, which, it must be admitted, reveal
a sure touch and a fine sense of colour. The
artist would do great things if only he could
283
de Vriendt, under whose personal superintendence
they were designed and executed. Unfortunately
the five panels are not of equal merit. That
signed by Houben is a very ordinary piece of
work, the figures having no especial character. The
panel by De Jans is of a higher order, but it is too
suggestive of an easel picture, this being due, no
doubt, to its lack of the necessary style. The
other three panels are far superior. In his Entree
triomphale des Rhetoriciens Farazyn has attained
a tonality which gives the most happy result, his
greens, mauves, and reds, artistically disposed,
forming a colour-scheme of much distinction.
Boom has employed red very largely. His Ouver-
ture de la Bourse is ruddy as a sunset, but in no
way mars the general effect of the series. More-
over, he has been fortunate in his typical figures,
which are full of interest—Flemish patricians and
magistrates of dignified mien and broad, majestic
movements. Several of the heads reveal careful
study, but not all, unhappily. A picturesque
medieval town, seen in perspective, forms an
excellent background.
The best work of all is unquestionably that of
Verhaert, whose Arrivee dun chargemetit de sucre is
a remarkable production. Here the types depicted
are less robust than those of Boom—some, indeed,
appear emaciated, almost sickly; but what character
in the faces, which are, for the most part, handled
like portraits; and what sound archaeological know-
ledge, with no touch of pedantry, in the treatment
of the costumes ! More strictly than any of his
collaborators Verhaert has confined himself to the
prescribed limits of decorative painting, and thus
his work resembles most nearly that of Leys. His
colouring is remarkable both for the vigour of its
tones and for its novelty. It is extremely strong
and bold. Altogether, the ornamentation of the
" Salle de l'Escalier" may be pronounced a
success.
As in previous years, individual exhibitions are
succeeding one another with great rapidity, every
week or two seeing something new. They
are held for the most part in the Verlat-Zaal,
which is very conveniently situated near the
Bourse, and only a few yards from the main
thoroughfare, the Meir. So far there has been
nothing very striking to record. Mention, how-
ever, must be made of the displays of M.
Frans Mortelmans and—more recently—of Mme.
and Mdlle. Ronner. Mortelmans paints flowers
and still-life, which, it must be admitted, reveal
a sure touch and a fine sense of colour. The
artist would do great things if only he could
283