DOI issue:
No. 131 (February, 1904)
DOI article:Studio-talk
DOI Page / Citation link:https://doi.org/10.11588/diglit.19881#0095
Studio-Talk
as draughtsman Steinlen the painter commands
admiration in this exhibition.
But the best things are not always to be found in
the galleries. Those, for instance, reposing at the
present moment in Rodin's studio deserve far more
attention. The master, who was not seen at the last
Salon, has been particularly active this year, and
has nearly completed several big works, of which
there will be much to say hereafter. Among his
smaller works—wherein the statuary's art seems
more young, more vigorous, and more alive than
ever—is a Source, wonderful in its facile grace, and
showing clearly the artist's subtle knowledge of the
human frame, and of the slightest play of the
muscles. In his Dernieres Fensees, which is des-
tined for the tomb of Rollinat, Rodin shows us,
rising straight irom the marble, the head of the
poet, whose wife died but a few weeks before him,
and towards whose portrait he turns his last glance.
This is not Rodin's final version of the work. We
know how conscientious he is in all he does ; how
difficile with regard to himself; how often he
returned to his Balzac. His Dernieres Pens'ees is,
so to speak, a scheme—small, but yet absolutely
finished—for his monument of Rollinat. Probably
all that he will need to add will be certain modifi-
cations tending to bring the poet's face into greater
prominence. H. F.
DRESDEN.—The illustration on page 78
shows one section of a frieze designed
by J. Goller. There are to be eight
such sections, repeating the same
79
as draughtsman Steinlen the painter commands
admiration in this exhibition.
But the best things are not always to be found in
the galleries. Those, for instance, reposing at the
present moment in Rodin's studio deserve far more
attention. The master, who was not seen at the last
Salon, has been particularly active this year, and
has nearly completed several big works, of which
there will be much to say hereafter. Among his
smaller works—wherein the statuary's art seems
more young, more vigorous, and more alive than
ever—is a Source, wonderful in its facile grace, and
showing clearly the artist's subtle knowledge of the
human frame, and of the slightest play of the
muscles. In his Dernieres Fensees, which is des-
tined for the tomb of Rollinat, Rodin shows us,
rising straight irom the marble, the head of the
poet, whose wife died but a few weeks before him,
and towards whose portrait he turns his last glance.
This is not Rodin's final version of the work. We
know how conscientious he is in all he does ; how
difficile with regard to himself; how often he
returned to his Balzac. His Dernieres Pens'ees is,
so to speak, a scheme—small, but yet absolutely
finished—for his monument of Rollinat. Probably
all that he will need to add will be certain modifi-
cations tending to bring the poet's face into greater
prominence. H. F.
DRESDEN.—The illustration on page 78
shows one section of a frieze designed
by J. Goller. There are to be eight
such sections, repeating the same
79