Studio: international art (28.1903)

Studio- Talk

This important work is, in tact, the complete
expression of the artistic dream of a modern mind,
a man of the time; and the exhibition at the
Artists' Club of the model of the monument as
a whole roused the public to extraordinary enthusi-
asm. The Government hesitated to commission
the artist to execute it, and when it became known
that a great Danish patron of the arts, Mr. Jacob-
sen, intended presenting it to the City of Copen-
hagen, some members of the Artists' Club opened
a subscription list, and names were rapidly added.
It may, indeed, be said that never before in Belgium
has such unanimous admiration been shown for any
work of art.

At the Exhibition of the Brussels Club, calling
itself "Le Labeur," which was held in the rooms of
the Modern Museum, M. Cambier's contributions
were worthy of note ; so also were those of M.

HOUSE DRESS DESIGNED BY

ELIZABETH WINTERWERBER

60

Othmann, whose colour schemes are bright and
refreshing.

Finally, we have had the exhibition of the
"Sillon" Club. Here M. Wagemans was this year
conspicuous. He uses a very heavy impasto, with,
perhaps, too evident cleverness. M. Smeers and
M. Swyncop also try to paint powerfully, while the
landscapes by M. Deglume please by their sincerity.

The Man or Sorrows, a sketch for a tomb by
M. Kemmerich, is broadly conceived and vigorously
executed. F. K.

BERLIN.—The movement which has in
view the improvement of women's dress
has been spreading gradually in Ger-
many during the last few years; yet
those who adopted it were until recently few enough
to attract attention wherever they showed them-
selves. Doctors, artists, and the creators of women's
garments have long been studying the problem
of how to make " reform dress " more attractive.
Having solved the problem, the next step was
to demonstrate practically that the particular kind
of attire advocated need not mean " ugliness,"
but that, on the contrary, it could be artistic and
beautiful.

It was in 1898 that artists first began to
interest themselves in the movement, and several
competitions were opened for artistic designs.
This was followed by exhibitions in various towns,
at which such artists as Henry van de Velde,
Behrens, of Darmstadt, Gussmann, of Dresden,
and many others vied with each other to produce
artistic and at the same time practical designs,
with the result that a "new artistic reform
dress " has been created, which is very different
from the original " reform dress " that startled the
world some twelve years ago. This was what
was required, for such exhibitions really meant
the transition from theory to practice. In Berlin
at least the "new artistic reform dress " is now
decidedly in favour. Whether it be at the theatre
or in the concert-hall, at receptions or in the ball-
room, there are always numbers of these dresses to
be seen.

Herr Paul Schultze-Naumburg, who was presi-
dent of the exhibition of examples of the new "re-
form" dress designed by well-known artists recently
held here, has been for years interesting himself
in this movement, and more particularly with