DOI issue:
No. 111 (June, 1902)
DOI article:Studio-talk
DOI Page / Citation link:https://doi.org/10.11588/diglit.19876#0081
Studio- Talk
Salon, have a classic grace
and charm about them, and
were conceived during those
hours the painter spent in
the voiceful solitude of
the Roman Campagna,
now turning his eye to that
far-stretching classical land-
scape, and anon to the
pages of his favourite Latin
poet, Virgil.
M. de Beaumont is not
only an exquisite landscapist
and portrait painter, he is a
decorative artist, who has-
contributed work of per-
manent value in this branch
to the art of his country.
design for a tapestry hanging hy m. a. nicola] During his sojourn in Italy
(See Dresden Studio-Talk) , . j • , .
' he paid special attention to
" l'etude de la fresque" ;
of electricity, and glow from molten metal on and this he turned to most effective use later
wreathing vapour. _ in his beautiful decoration, wrought in fifteenth
century style, of the roof of the " Chapelle des
Whilst space forbids a fuller mention of other Macchabes " at Geneva, and in his well-known
sections now, the portraits of Laszl6 cannot be and masterly fresco-work which adorns with admir-
passed over, nor the audacious work by the Russian aDle fitness the " Arsenal de Geneve." This last
Maliavine, nor that of the Dutchman Roelofs.
Taken altogether, the Karlsruhe Exhibition
presents comprehensively the latest evolution in
modern art, and presents it charmingly. F .B.
GENEVA.—M. Gustave de Beaumont
comes of an artistic family. His
cousin, Miss Pauline de Beaumont,
occupies a central position in that
group of Swiss lady-artists whose work—to which
we hope to refer later in the pages of The Studio
—is worthy of careful study. M. de Beaumont,
like many of his fellow-artists in this part of
Switzerland, is a pupil of that remarkable bygone
Swiss master, Barthelemy Menn, and of the famous
French master, Gerome. Having completed his
studies at the Ecole d'Art in Geneva and at the
Ecole des Beaux-Arts in Paris, M. de Beaumont
was attracted to Italy both by his passionate
admiration of Renaissance art and by his taste for
classical lore. A glance at the work of what may
be called his first period reveals the influence upon
his imagination and sensitive artistic temperament
of such landscape as Virgil loved and described.
Indeed, those beautiful productions, the A Pastoral,
the Sacrifice Champetre, and L Offrande, all of
which were successfully exhibited at the Paris (See Dresden Studio-Talk)
69
hook-cover design hy m. a. nicolai
Salon, have a classic grace
and charm about them, and
were conceived during those
hours the painter spent in
the voiceful solitude of
the Roman Campagna,
now turning his eye to that
far-stretching classical land-
scape, and anon to the
pages of his favourite Latin
poet, Virgil.
M. de Beaumont is not
only an exquisite landscapist
and portrait painter, he is a
decorative artist, who has-
contributed work of per-
manent value in this branch
to the art of his country.
design for a tapestry hanging hy m. a. nicola] During his sojourn in Italy
(See Dresden Studio-Talk) , . j • , .
' he paid special attention to
" l'etude de la fresque" ;
of electricity, and glow from molten metal on and this he turned to most effective use later
wreathing vapour. _ in his beautiful decoration, wrought in fifteenth
century style, of the roof of the " Chapelle des
Whilst space forbids a fuller mention of other Macchabes " at Geneva, and in his well-known
sections now, the portraits of Laszl6 cannot be and masterly fresco-work which adorns with admir-
passed over, nor the audacious work by the Russian aDle fitness the " Arsenal de Geneve." This last
Maliavine, nor that of the Dutchman Roelofs.
Taken altogether, the Karlsruhe Exhibition
presents comprehensively the latest evolution in
modern art, and presents it charmingly. F .B.
GENEVA.—M. Gustave de Beaumont
comes of an artistic family. His
cousin, Miss Pauline de Beaumont,
occupies a central position in that
group of Swiss lady-artists whose work—to which
we hope to refer later in the pages of The Studio
—is worthy of careful study. M. de Beaumont,
like many of his fellow-artists in this part of
Switzerland, is a pupil of that remarkable bygone
Swiss master, Barthelemy Menn, and of the famous
French master, Gerome. Having completed his
studies at the Ecole d'Art in Geneva and at the
Ecole des Beaux-Arts in Paris, M. de Beaumont
was attracted to Italy both by his passionate
admiration of Renaissance art and by his taste for
classical lore. A glance at the work of what may
be called his first period reveals the influence upon
his imagination and sensitive artistic temperament
of such landscape as Virgil loved and described.
Indeed, those beautiful productions, the A Pastoral,
the Sacrifice Champetre, and L Offrande, all of
which were successfully exhibited at the Paris (See Dresden Studio-Talk)
69
hook-cover design hy m. a. nicolai