DOI Heft:
No. 103 (October, 1901)
DOI Artikel:Studio-talk
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.19874#0083
Studio- Talk
Exhibition in Venice. What impressed
me particularly was the artist's sureness
of touch. He has a marvellously de-
veloped sense of form, and so sound is
his knowledge of the technical side of his
art that the representation of real things
has no difficulties for him.
His study of the truth has made him
something more than a sculptor: he
• became a colourist, and the result is that
he reveals a sense of colour, a striving
after it, a desire to represent it in all
his work. This quality is plainly visible
in the lovely work done by Ugo in Rome
during the period he enjoyed a grant
conceded by the Municipality of Palermo,
also in his remarkable profile of Nathan
and the maestro, Puccini, which are in-
vested with immense vigour and expres-
sion. Moreover he is not content with
giving the most scrupulously exact repre-
sentation of the human form; he aims
ever at that highest of artistic ideal—
the realisation, the suggestion of the
human soul within. Many of Ugo's
later works have been so successful in
"AN OLD GARDEN " BY RENE JANSSBNS this ^SpeCt, SO full Of Subtle psychology
(See Brussels Studio-Talk) and delicate truth, that one doubts
7i
Exhibition in Venice. What impressed
me particularly was the artist's sureness
of touch. He has a marvellously de-
veloped sense of form, and so sound is
his knowledge of the technical side of his
art that the representation of real things
has no difficulties for him.
His study of the truth has made him
something more than a sculptor: he
• became a colourist, and the result is that
he reveals a sense of colour, a striving
after it, a desire to represent it in all
his work. This quality is plainly visible
in the lovely work done by Ugo in Rome
during the period he enjoyed a grant
conceded by the Municipality of Palermo,
also in his remarkable profile of Nathan
and the maestro, Puccini, which are in-
vested with immense vigour and expres-
sion. Moreover he is not content with
giving the most scrupulously exact repre-
sentation of the human form; he aims
ever at that highest of artistic ideal—
the realisation, the suggestion of the
human soul within. Many of Ugo's
later works have been so successful in
"AN OLD GARDEN " BY RENE JANSSBNS this ^SpeCt, SO full Of Subtle psychology
(See Brussels Studio-Talk) and delicate truth, that one doubts
7i