DOI Heft:
No. 95 (February, 1901)
DOI Artikel:Studio-talk
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.19787#0073
Studio- Talk
M. A. Bastien, while always faithful to the
memory of the warm colourings affected by the
"romantic" painters of 1830, has notably
brightened his palette. M. Smeers, who seems
to have taken his inspiration from the Espagnol
d Paris of the late H. Evenepoel, has painted a
large full-length portrait which in its way is a
remarkable effort. And M. Wagemans is as clever
in his work as M. Smeers.
Others there are, however, who show more
sincerity—M. G. M. Stevens, who exhibited a very
interesting set of views of the Chateau de Freyr;
M. Verdussen, whose Vieux Logis are full of
quaint observation and well painted to boot; M.
Bernier, with several finely-executed little studies
of dogs and horses; and M. Deglume, whose
Brume sur FEscaut is a work of very delicate tone.
M. Coulon sent some drawings eccentrically
designed and executed, and M. V. Mignot an
album of Parisian types (published under the
direction of M. Octave Uzanne). Several boldly-
painted landscapes by the late J. de Greef were
also included in the Exhibition. M. Nocquet, the
sculptor, sent a large and notable series of works ;
and, it should be added in conclusion, M. Smeers
was responsible for the poster of the Exhibition.
The " Exposition Centennale" of the Brussels
Academy of Fine Arts was arranged in the best
possible manner under the superintendence of
its director, Mr. C. van der Stappen, the
sculptor. In this very interesting exhibition, which
comprised about 300 pictures and 200 drawings
and works of sculpture, one recognised again the
fact, as revealed by the diversity and the independ-
ence of style of these productions, that academic
teaching cannot stop the true expression of genuine
artistic personality. Perhaps the chief attraction of
an exceptional Salon was the exact and appreciable
evidence it gave of the successive transformations
of Belgian art—its evolution from the classic
formute to those of modern times. Among the
exhibits was Fernand KhnopfFs pastel Solitude,
now reproduced.
C. Meunier's group, Le Chcval a P Abreuvoir,
was recently placed on the pedestal prepared to
receive it in the Square Ambiorix. The fine and
expressive outline of this group, which was the
subject of comment in The Studio more than a
year since, produces a highly decorative effect.
M. A. Bastien, while always faithful to the
memory of the warm colourings affected by the
"romantic" painters of 1830, has notably
brightened his palette. M. Smeers, who seems
to have taken his inspiration from the Espagnol
d Paris of the late H. Evenepoel, has painted a
large full-length portrait which in its way is a
remarkable effort. And M. Wagemans is as clever
in his work as M. Smeers.
Others there are, however, who show more
sincerity—M. G. M. Stevens, who exhibited a very
interesting set of views of the Chateau de Freyr;
M. Verdussen, whose Vieux Logis are full of
quaint observation and well painted to boot; M.
Bernier, with several finely-executed little studies
of dogs and horses; and M. Deglume, whose
Brume sur FEscaut is a work of very delicate tone.
M. Coulon sent some drawings eccentrically
designed and executed, and M. V. Mignot an
album of Parisian types (published under the
direction of M. Octave Uzanne). Several boldly-
painted landscapes by the late J. de Greef were
also included in the Exhibition. M. Nocquet, the
sculptor, sent a large and notable series of works ;
and, it should be added in conclusion, M. Smeers
was responsible for the poster of the Exhibition.
The " Exposition Centennale" of the Brussels
Academy of Fine Arts was arranged in the best
possible manner under the superintendence of
its director, Mr. C. van der Stappen, the
sculptor. In this very interesting exhibition, which
comprised about 300 pictures and 200 drawings
and works of sculpture, one recognised again the
fact, as revealed by the diversity and the independ-
ence of style of these productions, that academic
teaching cannot stop the true expression of genuine
artistic personality. Perhaps the chief attraction of
an exceptional Salon was the exact and appreciable
evidence it gave of the successive transformations
of Belgian art—its evolution from the classic
formute to those of modern times. Among the
exhibits was Fernand KhnopfFs pastel Solitude,
now reproduced.
C. Meunier's group, Le Chcval a P Abreuvoir,
was recently placed on the pedestal prepared to
receive it in the Square Ambiorix. The fine and
expressive outline of this group, which was the
subject of comment in The Studio more than a
year since, produces a highly decorative effect.