DOI issue:
Nr. 115 (October 1902)
DOI article:Studio-talk
DOI Page / Citation link:https://doi.org/10.11588/diglit.19877#0079
Studio- Talk
the provincial council of Brabant the artist re- after long discussion, and the artist will start on
presented a Brussels lace-maker—La Dentelliere the work soon. F. K.
Bruxelloise—which has been reproduced in these
columns. M. Devreese's new work depicts a 11 K UNICH.—Painting at Munich is at pre-
Tournaisian ceramist of the fifteenth century / % / ■ sent: passing through a curious crisis,
working in an atelier, whence one may see / V 1 art nas exnaustecl nearly all its pro-
the famous "chong clotiers"—or five bells—of the A " *- gressive elements, and does not know
Walloon city. what to do next. It might be said that it has arrived
- at that stage of lethargy where creative genius ceases,
M. Devreese has also done a medal, inscribed : while taste and requirements proceed from refine-
" A M. Buls, la ville de Bruxelles reconnais- ment to refinement. At any rate, this much is
sante"; and a little plaguette for " Les amis de certain: Munich art no longer cherishes the least
la Medaille d'Art." The remarkable scheme illusions, no longer believes in anything, no longer
designed by him for the Monument of the Battle hopes for anything, no longer gets enthusiastic
of the Golden Spurs has been definitely accepted about anything. It is tired of the work it has done,
and would like a rest.
MONUMENT OF "THE BATTLE
OF THE GOLDEN SPURS"
BY G. DEVREESE
This desire for repose finds
expression in many ways. The
young aftergrowth of the Se-
cession, to which I referred on
the occasion of the last Spring
Exhibition, is returning to
inferior copying of Nature—
to naturalism, in a word. This,
however, is by no means that
fervent naturalism inspired by
revolutionary defiance, with
which the Secession began
thirteen years ago, but a flaccid,
spiritless retrocession to a
point previously gained: more
like resignation than a desire
for conquest. All these young
men are mediocrities, who
plod through their work ; not
geniuses, who have their heads
full of bold ventures and ex-
periments. If they are left to
perform quietly their work-a-
day tasks, they will by the end
of their lives have done a
large heap of paintings, but
they will not have advanced
art by a single hair's-breadth.
They may do a lot, but they
will not accomplish anything.
They may become excellent
workers at paintings, and
perhaps useful teachers at the
Academy, but never inventors
of new things, never creators of
an art looked up to by Europe.
67
the provincial council of Brabant the artist re- after long discussion, and the artist will start on
presented a Brussels lace-maker—La Dentelliere the work soon. F. K.
Bruxelloise—which has been reproduced in these
columns. M. Devreese's new work depicts a 11 K UNICH.—Painting at Munich is at pre-
Tournaisian ceramist of the fifteenth century / % / ■ sent: passing through a curious crisis,
working in an atelier, whence one may see / V 1 art nas exnaustecl nearly all its pro-
the famous "chong clotiers"—or five bells—of the A " *- gressive elements, and does not know
Walloon city. what to do next. It might be said that it has arrived
- at that stage of lethargy where creative genius ceases,
M. Devreese has also done a medal, inscribed : while taste and requirements proceed from refine-
" A M. Buls, la ville de Bruxelles reconnais- ment to refinement. At any rate, this much is
sante"; and a little plaguette for " Les amis de certain: Munich art no longer cherishes the least
la Medaille d'Art." The remarkable scheme illusions, no longer believes in anything, no longer
designed by him for the Monument of the Battle hopes for anything, no longer gets enthusiastic
of the Golden Spurs has been definitely accepted about anything. It is tired of the work it has done,
and would like a rest.
MONUMENT OF "THE BATTLE
OF THE GOLDEN SPURS"
BY G. DEVREESE
This desire for repose finds
expression in many ways. The
young aftergrowth of the Se-
cession, to which I referred on
the occasion of the last Spring
Exhibition, is returning to
inferior copying of Nature—
to naturalism, in a word. This,
however, is by no means that
fervent naturalism inspired by
revolutionary defiance, with
which the Secession began
thirteen years ago, but a flaccid,
spiritless retrocession to a
point previously gained: more
like resignation than a desire
for conquest. All these young
men are mediocrities, who
plod through their work ; not
geniuses, who have their heads
full of bold ventures and ex-
periments. If they are left to
perform quietly their work-a-
day tasks, they will by the end
of their lives have done a
large heap of paintings, but
they will not have advanced
art by a single hair's-breadth.
They may do a lot, but they
will not accomplish anything.
They may become excellent
workers at paintings, and
perhaps useful teachers at the
Academy, but never inventors
of new things, never creators of
an art looked up to by Europe.
67