Studio: international art (21.1901)

Studio- Talk

In addition to the table-set is a coffee-service, experiments. His " gypsographs" of Holland—

also modelled by M. Lefevre, wherein we find the there is no country more fascinating to the artist

same suppleness, the same simplicity, the same —such as Monnikendam, Elie de Marken, Brook,

sense of proportion. He must indeed be warmly his Danseuse Cambodgienne, or his Leda, are really

congratulated on his achievement, and a similar little masterpieces, exquisitely delicate and delightful

compliment is due to the manufacturer who, in their novelty,
regardless of public support, is daring enough to

try such experiments. M. Eugene Grasset's two tapestry cartoons, de-
_ signed for the firm of J. L. Leclerq, of Tourcoing,

A little glass case in the Hungarian Section of
the Esplanade des Invalides attracted general

are reproduced on pp. 136 and 137. Evidently
our manufacturers are at last lending their power-
ful aid to the initiative efforts of the artist. These

attention. It contained a variety of small objects , , , , .

. ,, , cartoons bear 'the unmistakable stamp or M

—vases, cups, flagons, &c.—in enamelled copper,

the work of M. T. Rapaport, of Budapest. Thanks

Grasset's forcible and skilful handiwork.

to a special process, wherein lies the originality and „ , , r .

... „, . , , Several works of considerable interest are dis-

the novelty 01 the work, M. Rapaport is able to , , , . . , . „ , _ , .

J . , played by Hungarian artists m the Grand Palais

make the copper stand the highest temperatures— . „, , , , , , -

r , f. f . des Champs Elysees, notable among them being

those necessary tor the enamel itself It is easy to ,,, . , . ., . . c

3 , . , . J M. Adolf tenyes La Famille, a striking picture, of

imagine how advantageous this must be from the , • , .,, ... „

, . . . 7 . r _ , which an illustration is given on p. 134. G. M.
decorative point of view. M. Rapaport's enamels,

which are incomparably rich in colour, can be em- _ _ TT,TT„TT „, ■ >^

, . , ; . 71 Pf UNICH.—The young artist, two of

ployed without difficulty on quite extensive sur- /m /■ , 1 • j j 1

* m. , , . . . , / m / ■ whose etchings are reproduced here-

faces. These beautiful productions deserve the lm/1 -i ■ , , ,

' ,, , . , . , . / W 1 Wlth, belongs to Munich only by

attention of all who are sincerely interested in the I f 1 • . c i_ ■ ■ j u- t-

J *»■■■■ virtue of having received his artistic

progress of applied art. . .. , ji^j

1 0 L L training there. E. Mendel was born and educated

at Bucharest, the capital of Roumania, and had to
M. Pierre Roche, a sculptor of real talent—as take to a commercial career, greatly against his
witness his series of statuettes inspired by Loie will, as he had no means to enable him to study
Fuller—always eager for fresh conquests, fresh art, for which he had shown a strong aptitude
fields of effort, lately displayed at Ed. Sagot's a even as a boy. Eventually, however, he became
collection of fifty-four "gypsographs," stamped the pupil of an ecclesiastical painter, and in 1891
water-colours, and eglomise parchments. Accord- was able to go to Munich, where he studied for
ing to M. Roger Marx the
" gypsograph " is a sort of
gaufrage, the tone and
model of which are ob-
tained simultaneously by
means of a single pressure,
the coloured ink being
deposited in the hollows
of a plaster mould. M.
Alexandre Charpentier
had previously adopted an
analogous, but less com-
plete, method in the
coloured gaufred litho-
graphs contained in his
album, styled En Zelande.
M. Pierre Roche has
carried the idea further,
and this little display at
Sagot's shows he was

right in not restricting his from an etching by e. mexdel

138