DOI Heft:
Nr. 102 (Septembre 1901)
DOI Artikel:Studio-talk
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.19788#0326
Studio- Talk
BUDAPEST.—With regard to its public But Rome was his first love; for there he spent
monuments, Budapest shares the fate a great part of his youth, and there he wedded
of all modern cities : it has practically the beautiful Angiola Pascucci. I have been
no good "memorialists," if so we may endeavouring — and not without success — to
term those who design memorials. It is not within discover some of his early work done here,
my province here to discuss the why and the where- Quite unknown to the world generally is a
fore of all this ; moreover, it would lead one too fai small landscape by Bocklin, now in possession
afield, in any case. Very different is it if we turn of the painter, Nino Costa, who was one of
our gaze from the living to the abodes of the dead, his friends. It dates back to 1850, or a few
In the Kerepeser Cemetery in this city one looks years later, and is really remarkable on account
in amazement at the abundance of really fine of its warm colour and its technical skill.
memorials. Here our best sculptors — George -
Zala, Alajos Strobl, and Gyula Donath—
have excelled themselves, the last-named
being responsible for the greater part of the
work. His first production, the memorial
of Adolf Huszar, the sculptor, is a poetically
conceived figure, revealing beautiful, delicate
lines, and thoroughly original treatment. The
happy blending of the Hellenic idea and the
symbol of Christianity—one of the Fates
leaning against the Cross as he cuts the
thread of life — is altogether novel and
effective. Then in sequence come the
monument to the painter A. Ligeli, The
Tragic Muse; that to the Peteniji family
(Fiat, a Spirit extinguishing the Lamp of
Life, which holds no more oil) ; that of the
lately deceased Burgomaster of Budapest,
K. Kammenmayer • that of the poet, Janos
Vajda; and that of Peterffy, the Hellenist.
All Donath's works are characterised by
high sentiment and beautiful line, allied to
a masterful sense of form. A. T.
ROME.—In the course of February
last the question of inaugurating
the new bronze statues for the
fountain in the Piazza Termini
was considered. The Municipal Council
offered vigorous opposition, regarding the
figures of the Naiads as being unduly nude.
As if Rome had not already its fair share of
glorious artistic nudities ! And one fine night
the crowd knocked down the railings of the
monument—an original form of inauguration
which must surely have pleased the Council.
The four boldly-modelled bronzes are by
Mario Rutelli, a sculptor of Palermo, well-
known and esteemed as the author of other
grand allegorical works.
Arnold Bocklin died, it will be remem-
bered, at Florence on the 17th of January. monument by gyula donath
290
BUDAPEST.—With regard to its public But Rome was his first love; for there he spent
monuments, Budapest shares the fate a great part of his youth, and there he wedded
of all modern cities : it has practically the beautiful Angiola Pascucci. I have been
no good "memorialists," if so we may endeavouring — and not without success — to
term those who design memorials. It is not within discover some of his early work done here,
my province here to discuss the why and the where- Quite unknown to the world generally is a
fore of all this ; moreover, it would lead one too fai small landscape by Bocklin, now in possession
afield, in any case. Very different is it if we turn of the painter, Nino Costa, who was one of
our gaze from the living to the abodes of the dead, his friends. It dates back to 1850, or a few
In the Kerepeser Cemetery in this city one looks years later, and is really remarkable on account
in amazement at the abundance of really fine of its warm colour and its technical skill.
memorials. Here our best sculptors — George -
Zala, Alajos Strobl, and Gyula Donath—
have excelled themselves, the last-named
being responsible for the greater part of the
work. His first production, the memorial
of Adolf Huszar, the sculptor, is a poetically
conceived figure, revealing beautiful, delicate
lines, and thoroughly original treatment. The
happy blending of the Hellenic idea and the
symbol of Christianity—one of the Fates
leaning against the Cross as he cuts the
thread of life — is altogether novel and
effective. Then in sequence come the
monument to the painter A. Ligeli, The
Tragic Muse; that to the Peteniji family
(Fiat, a Spirit extinguishing the Lamp of
Life, which holds no more oil) ; that of the
lately deceased Burgomaster of Budapest,
K. Kammenmayer • that of the poet, Janos
Vajda; and that of Peterffy, the Hellenist.
All Donath's works are characterised by
high sentiment and beautiful line, allied to
a masterful sense of form. A. T.
ROME.—In the course of February
last the question of inaugurating
the new bronze statues for the
fountain in the Piazza Termini
was considered. The Municipal Council
offered vigorous opposition, regarding the
figures of the Naiads as being unduly nude.
As if Rome had not already its fair share of
glorious artistic nudities ! And one fine night
the crowd knocked down the railings of the
monument—an original form of inauguration
which must surely have pleased the Council.
The four boldly-modelled bronzes are by
Mario Rutelli, a sculptor of Palermo, well-
known and esteemed as the author of other
grand allegorical works.
Arnold Bocklin died, it will be remem-
bered, at Florence on the 17th of January. monument by gyula donath
290