DOI Heft:
Nr. 144 (March 1905)
DOI Artikel:Oliver, Maude I. G.: Belgian art at the St. Louis exhibition
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.20711#0164
Belgian Art at St. Louis
relation to this tree are also noteworthy. Quite than the symphony in rich, metallic hues called
the antithesis of the foregoing was the summer idyl The Golden Dial, by Franz Charlet.
entitled The Brooms, by Mrs. Wytsman. In this, Among the figure pieces, The Collar of Amber,
instead of the impressionistic tendency of the by Mr. Emile Vauthier, the commissioner of the
preceding, we notice a very direct method of section, was one of the most noticeable works. This
brushwork, loosely yet searchingly employed. is a distinguished production. It presents an
Next we may consider the fine production by Oriental vendor in a loose sacque, shading into the
George Buysse, entitled Winter Sun in Ghent. amber colour of his beads, and placed against a
Here was observable the commercial life of the dark red background with just a hint of turquoise-
river appreciatively portrayed. Beyond a forest of green at the left. The crafty servility of the
slender masts is seen the river and the distant subject is very ably depicted. The Portrait of a
shore caressed by mellow flooding light. A Priest showed that sure sense of modelling
reposeful, serious accomplishment is observed in which a painter who is also a sculptor alone
the contribution by Ferdinand Willaert, entitled can give. This was by de Lalaing. An un-
The Old Convent at Ghent. The colours in this usually powerful work is noted in The Intruders,
work are soft but luminous, hinting agreeably of from the brush of that epic, democratic painter,
the autumn season. The subject matter of the Eugene Laermans. Always applying his pigment
picture has, as it were, been thrown into a halo of in mosaics by means of the palette knife, this
distance by the cast shadow from the line of artist procures, very nearly, a surface of enamel,
architecture along the right-hand side of the street, which agrees happily with the flat, dexterous
leaving the main theme in glorious sunshine. The masses of his canvases. His fine decorative
spot of reflected sky in the large patch of shadow sense reaches the realm of poetry itself, and his
lends a satisfactory balance to the whole. Then, independent colouring, neutral though it is,
in the matter of colour harmonies, a more beau- astonishes while it delights the observer. An Old
tiful treasure it would have been difficult to find Flemish Song on a Fishing Boat was the most
"THE SUN RISING ON THE BOGS OF THE CAMPINE '
I48
BY A. J. HEYMANS
relation to this tree are also noteworthy. Quite than the symphony in rich, metallic hues called
the antithesis of the foregoing was the summer idyl The Golden Dial, by Franz Charlet.
entitled The Brooms, by Mrs. Wytsman. In this, Among the figure pieces, The Collar of Amber,
instead of the impressionistic tendency of the by Mr. Emile Vauthier, the commissioner of the
preceding, we notice a very direct method of section, was one of the most noticeable works. This
brushwork, loosely yet searchingly employed. is a distinguished production. It presents an
Next we may consider the fine production by Oriental vendor in a loose sacque, shading into the
George Buysse, entitled Winter Sun in Ghent. amber colour of his beads, and placed against a
Here was observable the commercial life of the dark red background with just a hint of turquoise-
river appreciatively portrayed. Beyond a forest of green at the left. The crafty servility of the
slender masts is seen the river and the distant subject is very ably depicted. The Portrait of a
shore caressed by mellow flooding light. A Priest showed that sure sense of modelling
reposeful, serious accomplishment is observed in which a painter who is also a sculptor alone
the contribution by Ferdinand Willaert, entitled can give. This was by de Lalaing. An un-
The Old Convent at Ghent. The colours in this usually powerful work is noted in The Intruders,
work are soft but luminous, hinting agreeably of from the brush of that epic, democratic painter,
the autumn season. The subject matter of the Eugene Laermans. Always applying his pigment
picture has, as it were, been thrown into a halo of in mosaics by means of the palette knife, this
distance by the cast shadow from the line of artist procures, very nearly, a surface of enamel,
architecture along the right-hand side of the street, which agrees happily with the flat, dexterous
leaving the main theme in glorious sunshine. The masses of his canvases. His fine decorative
spot of reflected sky in the large patch of shadow sense reaches the realm of poetry itself, and his
lends a satisfactory balance to the whole. Then, independent colouring, neutral though it is,
in the matter of colour harmonies, a more beau- astonishes while it delights the observer. An Old
tiful treasure it would have been difficult to find Flemish Song on a Fishing Boat was the most
"THE SUN RISING ON THE BOGS OF THE CAMPINE '
I48
BY A. J. HEYMANS