DOI Heft:
Nr. 118 (January 1903)
DOI Artikel:Thovez, Enrico: The Turin Exhibition, the Belgian section
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.19877#0292
Turin Exhibition
and one of the most distinguished in effect.
The committee, of which M. H. Fierens Gevaert,
a well-known man of letters and art critic,
was chairman, gave the display a stamp of
the Belgian style by achieving harmony in the
various rooms, by exhibiting the work of artists
only, and on condition that the designer's name,
and not the manufacturer's, should be attached.
The entrance was through a stucco portico
with a vaulted arch, supported by two pillars,
decorated with masks and scroll work; within
was a vestibule with two stairways, leading to a
large room, designed by M. Horta. In the narrow
space between the two stairs was a little book-
room, where modern books, illustrated by Belgian
artists, were displayed. The portico and book-
room were designed by Leon Gevaerts, the architect,
and plainly showed the influence of the Brussels
architect, M. Horta. His large salon was very
rich in colour, the woodwork red, the walls hung
with gold-coloured silk, and, taking it altogether,
it gave a very good impression of this artist's
individual style. He also exhibited, in a flat
glass-case, various photographs of his more famous
buildings — the Hotel Solway, the Hotel van
Eetvede, the People's Palace, and others. In the
corners were two complete sets of furniture in light-
coloured wood, ash and sycamore, well executed
and elegant, in M. Horta's peculiar undulating
style. On the walls were two large allegorical
panels in body colour on canvas, by M. Fabry,
vigorous in movement and modelling, and very
decorative in effect. Their ruddy key of colour
harmonised well with the red tones of the room. '
To right and left of the corridor, on leaving this
salon, were two smaller rooms, a dining-room and
a study, designed by M. Georges Hobe, of
Brussels. They were simple and practical, well
arranged, with no such striving after originality
as often leads to extravagance in modern decora-
tive work; the plain furniture, devoid of mould-
ings and scrolls, was certainly among the best in
the exhibition. One of the rooms was embellished
by a painted frieze by M. Wytsman, representing
the town and environs of Bruges, a very pleasingly
decorative work, in subdued tones and clear-cut
outlines.
The next room was dedicated to the use of the
DINING-ROOM BY A. ISSEL
280
and one of the most distinguished in effect.
The committee, of which M. H. Fierens Gevaert,
a well-known man of letters and art critic,
was chairman, gave the display a stamp of
the Belgian style by achieving harmony in the
various rooms, by exhibiting the work of artists
only, and on condition that the designer's name,
and not the manufacturer's, should be attached.
The entrance was through a stucco portico
with a vaulted arch, supported by two pillars,
decorated with masks and scroll work; within
was a vestibule with two stairways, leading to a
large room, designed by M. Horta. In the narrow
space between the two stairs was a little book-
room, where modern books, illustrated by Belgian
artists, were displayed. The portico and book-
room were designed by Leon Gevaerts, the architect,
and plainly showed the influence of the Brussels
architect, M. Horta. His large salon was very
rich in colour, the woodwork red, the walls hung
with gold-coloured silk, and, taking it altogether,
it gave a very good impression of this artist's
individual style. He also exhibited, in a flat
glass-case, various photographs of his more famous
buildings — the Hotel Solway, the Hotel van
Eetvede, the People's Palace, and others. In the
corners were two complete sets of furniture in light-
coloured wood, ash and sycamore, well executed
and elegant, in M. Horta's peculiar undulating
style. On the walls were two large allegorical
panels in body colour on canvas, by M. Fabry,
vigorous in movement and modelling, and very
decorative in effect. Their ruddy key of colour
harmonised well with the red tones of the room. '
To right and left of the corridor, on leaving this
salon, were two smaller rooms, a dining-room and
a study, designed by M. Georges Hobe, of
Brussels. They were simple and practical, well
arranged, with no such striving after originality
as often leads to extravagance in modern decora-
tive work; the plain furniture, devoid of mould-
ings and scrolls, was certainly among the best in
the exhibition. One of the rooms was embellished
by a painted frieze by M. Wytsman, representing
the town and environs of Bruges, a very pleasingly
decorative work, in subdued tones and clear-cut
outlines.
The next room was dedicated to the use of the
DINING-ROOM BY A. ISSEL
280