DOI Heft:
No. 97 (April, 1901)
DOI Artikel:Hendrix, Henriëtte: Norse mythology as illustrated by Antoon Molkenboer
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.19787#0213
Norse Mythology Illustrations
And Fate, the symbol of which is the sisters three, Walhal/a, on one of which (page 183) we see the
is also shown. three gods, Odin, Thor and Loki, with Walkiiren
From this basis all the ornamental drawings and heroes on either side, and in the other we
relating to Norse mythology are constructed. In see Odin under the tree of life, supported by the
the garments of gods and heroes, helmets, weapons, heroes, and Sigurd receiving a horn from Hilde
shields, and every detail are seen the principal (page 182); and, finally, a sketch of a Walkiiren-ritt
motives, so that we can find (page 181) that makes us think
out their meaning through their of Wagner's lovely melody,
outward appearance. To quote -^Sftssa But Molkenboer considers all
some of them : Thor's garments ?'^^^^&<§^^b^w^' t^1's wor'i as a forerunner of
show the wavy line of water, "^^^W^^^^Wis what is to follow. When it was
and the motive of the two loving '^^^^^iff^C^v,! exhibited in Amsterdam e\ery-
birds; and his shield is made ^jf^* body was struck by the logical
up of the three motives in <a.!hL*%W^i way m which ^e ^ad worked
regular order (page 182). Loki's MiraSfffS^na everything out, and by the
shield, however, is used as a Mr-~z££^4z!m handsome designs that were
menace to mankind, and it the result of his endeavours,
shows the motives wideapart, sur- $$(oa8
rounded by lines of wild waves KWWSo
and wind and fire. A splendid ^^^^S'fr^^^^ ^" Arthur R°we's draw-
shield is that of the giant ^^^^C[^^^™ m&s of " Old-World Gardens
Starkad, showing a snake killed iwwWL have been lately exhibited
by a spear (page 183). Other »Hsl535c& IfffiAMwifl at Messrs. Dowdeswell's gallery
fine examples are Sigurd and a L , Ll 7' , —are worthy of being remembered
Walkiire. All the ornaments as daintily-handled records of
correspond with what is told of pretty subjects. Technically they
them in the legends, and people j were full of interest, for they
who are well versed in the tales sigurd s armour were drawn wjtjj an unusuai
by a. molkenboer
of the Nibelungen will easily find grace of manner,and they were
out the meaning of the details. painted with a great deal of
sympathy and subtle feeling. In his treatment
of contrasts of colour, and in his management of
line composition, the artist showed excellent dis-
cretion ; and though in the series of drawings
there was no evidence that he had made any effort
to break away from accepted conventions, his com-
mand over details of craftsmanship was sufficiently
evident. By way of a contrast, Mr. W. Lee-Hankey's
water-colours, hung in the galleries of the Fine Art
Society, may be compared with Mr. Rowe's brilliant
little notes. Mr. Lee-Hankey takes a more sombre
" view of nature, and records his observations with
greater reticence. He paints largely and simply,
and aims rather at the impressiveness of thoughtful
suggestion than at the lighter qualities which are
"sigurd's belt " by a. molkenboer P0SS'ble t0 the reaHSt' ^ * OUt-Of-do0r Sub-
jects with a keen appreciation of their daintiness and
bright variety. His style is in many ways peculiar
Now one might ask, What is the object of all this to himself, and expresses an original and interesting
work ? Wagner did not only give us his motives conviction about the use of devices of technique.
{kitmotive), he showed us also his glorious com- As a colourist he is reserved and serious, but
positions. Well, Molkenboer's object is to make always consistent, and he understands admirably
compositions as well. He has made some draw- how to harmonise modulations of colour by invest-
ings representing Gladsheim and The Heroes in ing them with an appropriate atmcsphere.
184
And Fate, the symbol of which is the sisters three, Walhal/a, on one of which (page 183) we see the
is also shown. three gods, Odin, Thor and Loki, with Walkiiren
From this basis all the ornamental drawings and heroes on either side, and in the other we
relating to Norse mythology are constructed. In see Odin under the tree of life, supported by the
the garments of gods and heroes, helmets, weapons, heroes, and Sigurd receiving a horn from Hilde
shields, and every detail are seen the principal (page 182); and, finally, a sketch of a Walkiiren-ritt
motives, so that we can find (page 181) that makes us think
out their meaning through their of Wagner's lovely melody,
outward appearance. To quote -^Sftssa But Molkenboer considers all
some of them : Thor's garments ?'^^^^&<§^^b^w^' t^1's wor'i as a forerunner of
show the wavy line of water, "^^^W^^^^Wis what is to follow. When it was
and the motive of the two loving '^^^^^iff^C^v,! exhibited in Amsterdam e\ery-
birds; and his shield is made ^jf^* body was struck by the logical
up of the three motives in <a.!hL*%W^i way m which ^e ^ad worked
regular order (page 182). Loki's MiraSfffS^na everything out, and by the
shield, however, is used as a Mr-~z££^4z!m handsome designs that were
menace to mankind, and it the result of his endeavours,
shows the motives wideapart, sur- $$(oa8
rounded by lines of wild waves KWWSo
and wind and fire. A splendid ^^^^S'fr^^^^ ^" Arthur R°we's draw-
shield is that of the giant ^^^^C[^^^™ m&s of " Old-World Gardens
Starkad, showing a snake killed iwwWL have been lately exhibited
by a spear (page 183). Other »Hsl535c& IfffiAMwifl at Messrs. Dowdeswell's gallery
fine examples are Sigurd and a L , Ll 7' , —are worthy of being remembered
Walkiire. All the ornaments as daintily-handled records of
correspond with what is told of pretty subjects. Technically they
them in the legends, and people j were full of interest, for they
who are well versed in the tales sigurd s armour were drawn wjtjj an unusuai
by a. molkenboer
of the Nibelungen will easily find grace of manner,and they were
out the meaning of the details. painted with a great deal of
sympathy and subtle feeling. In his treatment
of contrasts of colour, and in his management of
line composition, the artist showed excellent dis-
cretion ; and though in the series of drawings
there was no evidence that he had made any effort
to break away from accepted conventions, his com-
mand over details of craftsmanship was sufficiently
evident. By way of a contrast, Mr. W. Lee-Hankey's
water-colours, hung in the galleries of the Fine Art
Society, may be compared with Mr. Rowe's brilliant
little notes. Mr. Lee-Hankey takes a more sombre
" view of nature, and records his observations with
greater reticence. He paints largely and simply,
and aims rather at the impressiveness of thoughtful
suggestion than at the lighter qualities which are
"sigurd's belt " by a. molkenboer P0SS'ble t0 the reaHSt' ^ * OUt-Of-do0r Sub-
jects with a keen appreciation of their daintiness and
bright variety. His style is in many ways peculiar
Now one might ask, What is the object of all this to himself, and expresses an original and interesting
work ? Wagner did not only give us his motives conviction about the use of devices of technique.
{kitmotive), he showed us also his glorious com- As a colourist he is reserved and serious, but
positions. Well, Molkenboer's object is to make always consistent, and he understands admirably
compositions as well. He has made some draw- how to harmonise modulations of colour by invest-
ings representing Gladsheim and The Heroes in ing them with an appropriate atmcsphere.
184