Studio: international art (22.1901)

Studio-Talk

by M. H. Gerard and M me. C. Voortman; the
somewhat laboured jewellery of MM. Feys and
Strydonck, and the tin and bronze work of Mile.
J. Lorrain, whose display was quite remarkable
for a newcomer.

The Director of the Exhibition, M. Maus, had
got from Paris a large number of excellent works,
including three Monets (among them his superb
painting, UPnondation), four Vuillards (finely-toned
and agreeably treated interiors), several C. Pissaros
(worksof extreme sincerity); and therewere examples
of M. Denis, Cezanne, d'Espagnat, and Lebourg.
From Paris also came a noteworthy collection from'
the studio of the Belgian artist, Th. Van Rysseh
berghe— paintings done in bright and joyous
colours, but at times rather too systematic in
execution, and a number of careful engravings and
drawings.

M. E. Claus contributed numerous landscapes,
luminous and clear as ever, including the large
canvas Le Passage des Vaches, of which a repro-
duction appeared recently in The Studio. M.
Baertsoen exhibited several broadly painted scenes
from provincial towns, while M. Delaunois dis-
played a dramatically handled Intcrieur d'Eglise.

The drawings were many and varied, and in-
cluded specimens by G. Lemmen, Donnay,
Mertens, Mile. Dause, and Herman-Paul. One
also noticed some decorative designs by M.
Combaz, and several curious little fired ceramics
by Mile. Boch. _

That admirable sculptor, V. Rousseau, showed
his pure and delicate style in an exquisitely
beautiful bronze statuette, and in other works;
and M. P. Dubois was represented by a fanciful
bust in ivory and silver (now reproduced) and a
powerful portrait bust in marble. But the most
remarkable thing in the way of sculpture was
C. Meunier's high-relief, La Mine, a portion of
his Monument au travail, of which an illustration
is also given. The great artist has been exclusively
engaged on this work for some years past. When
finished it will form the fitting crown of a laborious
life- F. K.

BUDAPEST.—There was recently opened
here an International Exhibition of
Modern Art, which is the most notable
artistic manifestation of the kind we
have yet seen in Hungary. The display has been
initiated by the National Salon, and was held in
z£8

its galleries at the Palace of Count Cziraky. The
President of the National Salon is Count Jules
Andrassy, and M. Jean Hock one of our deputies.
The exhibition devoted much of its space to
French artists, while English art was worthily
represented by Messrs. Brangwyn and Alfred
East. The organisers of this undertaking were
MM. G. Mourey, correspondent of The Studio
in Paris, and Feri de Szikszay, societaire of the
National Salon, whose delicate picture, Conte de
Printemps, was reproduced in The Studio of
September last.

VIENNA.—After giving an exhibition of
its most famous Diirer drawings, the
Albertina Gallery has now thrown open
to the public gaze its treasures in the
shape of original drawings by Rubens and his
school. The organiser of the display is Herr
Meder, the Conservator, who has arranged these
interesting works in admirable order, so that in
many instances we are able to follow the course
of the artist's thoughts from the first studies to the
finished oil paintings, which are shown here, for the
sake of comparison, in the form of engravings.

By this means we clearly see how Rubens used
one and the same sketch as the basis of several
pictures. He worked on the principle of employ-
ing certain types as a ground-work, so to speak,
especially in his religious paintings. As for the
nature of his compositions, Rubens was all for
variety, and this it was which made him so brilliant
a representative of the baroque period of art in
which he flourished—an age showing no traces of
the Renaissance, whose motifs were kept within
narrower and, consequently, severer limits.

H. T.

MELBOURNE. —Mr. Fred McCubbin
chose the month of November for his
"one man " show, and surprised us with a
number of well-painted portraits, which
are known to be excellent likenesses. Mr. McCubbin
has hitherto taught us to look upon him as a land-
scape painter, and it was somewhat difficult to
detach ourselves from that idea, and to study him
from the point of view of a portrait painter. But
that he is justified in assuming this role his work at
once convinces us. He has put before us not mere
portraits but studies of character, as is testified
by the portrait he has executed of his brother painter
Senor Loureiro, and also by those of Mr. Louis
Abrahams, and Mrs. Edward Scharf. All things