Studio: international art (20.1900)

Studio- Talk

This remarkable exhibition was the last of a
long series, displayed from week to week at the
Cercle. Among the best things to be seen there
were the studies by the architect, Van Ysendyck,
for the restoration of the Eglise du Sablon, in
Brussels; the decorative sketches by Professor
Stallaert (of whom M. Vautier has painted a life-
like portrait); the numerous and varied landscapes
of MM. Blieck, Matthieu, Gilsoul, Wytsman and
Kegeljean; the portraits by MM. Vanaise and
Gouweloos; the sculptures by MM Dillens and
De Tombay; the drawings by J. B. Meunier, the
engraver; and a new work by G. M. Stevens—
Filles de Jiois—quaint and uncommon in colour-
ing ; also several portraits and landscapes from the
same hand, seen recently at M. Stevens's exhibition
at the Maison d'Art.

The sudden death of the well-known Brussels
landscapist, F. Binje, has been a sad blow to his
fellow artists, with whom he was very popular.
After his first amateur efforts, M. Binje soon took
a prominent place among our water-colourists, side
by side with his friends Stacquet and Uytterschaut.
A few years since he began to paint in oils, with
marked success. His work is distinguished by
delicacy of sentiment and bold colouring.

On page 123 is reproduced a very beautiful
picture by P. J. Clays, who died recently, at the age
of 83, and whose fame as a painter of calm water and
quaint boats is known to everybody who loves art.

A monument is to be erected in memory of the
animal-painter, Alf. Verwee. It will be executed
by the sculptor Ch. Vanderstappen, Director of
the Brussels Academy of Fine Arts. The memorial
will be composed of white stone and Scotch granite.

F. K.

LEIPSIC—A Spring exhibition at the Art
Union, arranged by Ernst Arnold of
Dresden, attempted to make known to
the public the net results, so to speak,
of all that has been achieved in German painting
since the recent revival. Sometimes preceding
generally following French vicissitudes, German art
has within the past fifteen years or so jumped from
one "ism" to another, and at the exhibition in
question an attempt was made to gather together the
best specimens of the " naturalistic," of the " plein-
air," of the " neo-idealistic," of all the other periods
through which we have been lately rushed. This
retrospective collection, had it been completely
successful, would have been most interesting and

COMING HOME THROUGH THE FIELDS BY KARL BANTZER

(See Leipsiq^Studto- Talk)

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