A Swiss Painter
ASWISS FAINTER : CHARLES of greatest promise and no mean achievement in
GIRON. BY ROBERT MOBBS. tne present Swiss school have set themselves to a
fresh interpretation of the perennial beauty and
Those who have studied the works grandeur of Alpine landscape and a new treatment
produced during the last few years by Swiss land- of those characteristic features of Swiss life which,
scape and portrait painters cannot have failed to alas ! are beginning to fade out of the framework
be impressed by one sign, amongst others, full of of reality. It is impossible to study the landscapes
promise for the future of art in this country—viz. of Hans Sandreuter, Gustave Jeanneret, Alexandre
that the Swiss painter, instead of being carried Perrier, Abraham Hermenjat, Gustave de Beau-
away by the modern impulse for travel and " pas- mont, Henry van Muyden, Carl Theodor Meyer,
tures new," is turning more and more to his own Ernest Bieler, Giovanni Giacometti, Otto Vautier,
wonderful land and its national types and customs David Estoppey, Alfred Rehfous, Jacques Ruch,
for the subject-matter and inspiration of his art. Charles Giron, or the portrait-painting of Fritz
This should not seem strange considering the Burger, Charles Giron or Albert Welti, without
inexhaustible mine of artistic wealth that the feeling that we have here a manifestation of art
natural beauty of this country opens to the artist, that is not only strikingly personal and sincere,
But it is noteworthy that while it is the fashion but essentially Swiss. And these are but some of
with not a few modern artists " to travel round the the members of that group of Swiss painters whose
world, and to produce from their notes de voyage work deserves to be more widely known not only
general aspects bearing neither stamp nor certificate for its intrinsic merit, but for its national character
of mileage—in other words, pictures "—the artists and promise.
les vieux" (Photograph by F. Hanfstaengl) by Charles giron
XXV. No. 108.—March, 1902. 81
ASWISS FAINTER : CHARLES of greatest promise and no mean achievement in
GIRON. BY ROBERT MOBBS. tne present Swiss school have set themselves to a
fresh interpretation of the perennial beauty and
Those who have studied the works grandeur of Alpine landscape and a new treatment
produced during the last few years by Swiss land- of those characteristic features of Swiss life which,
scape and portrait painters cannot have failed to alas ! are beginning to fade out of the framework
be impressed by one sign, amongst others, full of of reality. It is impossible to study the landscapes
promise for the future of art in this country—viz. of Hans Sandreuter, Gustave Jeanneret, Alexandre
that the Swiss painter, instead of being carried Perrier, Abraham Hermenjat, Gustave de Beau-
away by the modern impulse for travel and " pas- mont, Henry van Muyden, Carl Theodor Meyer,
tures new," is turning more and more to his own Ernest Bieler, Giovanni Giacometti, Otto Vautier,
wonderful land and its national types and customs David Estoppey, Alfred Rehfous, Jacques Ruch,
for the subject-matter and inspiration of his art. Charles Giron, or the portrait-painting of Fritz
This should not seem strange considering the Burger, Charles Giron or Albert Welti, without
inexhaustible mine of artistic wealth that the feeling that we have here a manifestation of art
natural beauty of this country opens to the artist, that is not only strikingly personal and sincere,
But it is noteworthy that while it is the fashion but essentially Swiss. And these are but some of
with not a few modern artists " to travel round the the members of that group of Swiss painters whose
world, and to produce from their notes de voyage work deserves to be more widely known not only
general aspects bearing neither stamp nor certificate for its intrinsic merit, but for its national character
of mileage—in other words, pictures "—the artists and promise.
les vieux" (Photograph by F. Hanfstaengl) by Charles giron
XXV. No. 108.—March, 1902. 81