hongrois. . . . Ce n'est point un portrait de gala, r | ^HE ARTISTS' COLONY AT
mais une oeuvre humaine, sentie et reflechie. ... I DARMSTADT. BY W. FRED.
Voila une peinture a faire songer, une tres grande
peinture. . . , Un mot encore sur le faire meme *■ It is scarcely possible to perceive any
du peinture: il est aussi serre que celui de Len- individual trait in the evolution of decorative
bach, avec plus d'aisance et de verve." This art in Germany and Austria. The man who at one
passage aptly sums up the qualities of this fine time or other may write the history of art handicraft
portrait. in the nineteenth century will surely drop his pen
His portraits of women and children are abso- when he arrives at that chapter of his subject. He
lutely delightful. The soul of the child has seldom will have to mention a thousand influences ; he will
been shown so forcibly, so charmingly, as in his see much seed sown, discover a thousand germs, but
portraits, notably the Daniela and the Sabine, observe little ripe fruit harvested. Ultimately, how-
already mentioned. (See The Studio, March, ever, when the balance of art-handicraft at the close
1899.) In these, as in his recent women's portraits, of the nineteenth century, or, if it sounds better, at
I seem to trace the influence of the great English the beginning of the twentieth century, is struck, a
artists of the eighteenth century, particularly handsome sum total of positive performance will be
Reynolds. shown. But no regular system will be seen, no
Of Laszl6's attention to the eyes and the lips I pattern, of however summary a kind, will have been
have already spoken. A word should also be said established; and this will make the strictly scientific
of his treatment of the
hands, which in his por-
traits seem to speak as
eloquently as the features
The artist's technique, at
first somewhat sleek and
feeble, has developed into
a fine, broad simplicity. He
knows what to emphasise ,
and what to ignore. With Jfo
photography he has nothing ff'
to do. Sometimes, before §§ ^
attempting to paint his M a[
model, he makes several S fy
sketches—that is all. One ' . jSflJ
realises the true nature of
a face or form after having I ' !
carefully drawn it. '^11 -
Laszl6 can hardly be i; tm , r^^-
styled altogether a "modern || ^ ""*>" ]
painter," as modernity is > '.A
understood nowadays. % |£ ■] =T~
Neither is he an Impres- Nrm!'
sionist, nor a Symbolist, r£
nor a Pointilliste. In fact, SbPM MffHfr'^//b ;*''• 'fs'\ ''•
he belongs to no special " »« * I ' JHb'JH ijHljjfclx'S*jflHc' , \ I
cites or group. He is a :* %>.
free, natural painter, with .'. .: •••
a characteristic style which ' '
is all his own, interpreting ... A A
Nature as he sees it. If any
influence guides him, it is _Al A A ______
that of Sir Joshua Reynolds.
Anthony Tahi house designed by peter behrens