DOI Heft:
Nr. 150 (September 1905)
DOI Artikel:Studio-talk
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.20712#0362
Studio-Talk
THE /1ATVRAL HISTORY
t OF PLAMTS f
VOLUME 1
THE MURAL HISTORY
f Of PLANTS t
M.RNER « AMD » OLIVER
tm cmm tmmm ■«
BOOKBINDING BY TALWIN MORRIS
(See London Studio- Talk)
Designers of decoration are nowadays often
reproached for the over-elaboration of the furniture
they produce. For this reason I this year hailed
with pleasure the simple and refined exhibits of
M. Lovatelli at the Societe Nationale; his designs
are really restful, free from all the exaggeration
and ugliness which it is now the fashion to call the
modern style.
After the Exhibition of the London Sketch
Club Messrs. Graves or-
ganised in their galleries
an interesting show of
the works of M. Andre
Dauchez, in which that
clever and versatile land-
scape painter appeared at
his best. It must not be
forgotten that M. Dauchez
was one of the very first
artists noticed in The
Studio, so that it is a
special gratification to note
his success.
At the Hessele Gallery
M. Ramon Pichot has
collected a number of his
drawings and paintings.
He is a member of the
gifted and original group
of Spanish artists domi-
ciled in Paris, who deserve
far more than the passing notice I can give them
here; amongst whom may be specially named
Iturino, Battle, Regoyos, Canal, and Durio.
M. Gaston Prunier recently brought together, in
the Serrurier Galleries, a selection of paintings and
water-colours, some of which had already been seen
either at the Salons or in the smaller exhibitions.
The selection has been most happily made, and the
impression one carries away is that M. Prunier
certainly deserves to be better known than he has
been hitherto.
Allied to no school—which, to my thinking, is a
high merit—and having neither the methods nor
the stamp of any particular group, Prunier shows
himself absolutely modern in his manner, while
giving evidence, by a very diversified choice of
subjects, of his aptitude to grasp the meaning of
spectacles essentially varied. In this exhibition
are to be seen pictures done since 1888, and these
show the artist’s successive evolutions. First of
all, he chooses Paris—Paris and its bridges, its
gardens, its statue-thronged parks, its fairy skies,
its melancholy outskirts. During 1893 and 1894
the artist was right in the heart of nature in the
Pyrenees, and his brush, accustomed as it was to
the Parisian outlook, to the delicate lines of its
monuments, nevertheless revealed a rare aptitude
in grasping the meaning of the massive, formidable
structure of the mountain, the mysterious depth of
“LES REMPARTS DE ST. MALO
344
BY JEAN DUVAL
THE /1ATVRAL HISTORY
t OF PLAMTS f
VOLUME 1
THE MURAL HISTORY
f Of PLANTS t
M.RNER « AMD » OLIVER
tm cmm tmmm ■«
BOOKBINDING BY TALWIN MORRIS
(See London Studio- Talk)
Designers of decoration are nowadays often
reproached for the over-elaboration of the furniture
they produce. For this reason I this year hailed
with pleasure the simple and refined exhibits of
M. Lovatelli at the Societe Nationale; his designs
are really restful, free from all the exaggeration
and ugliness which it is now the fashion to call the
modern style.
After the Exhibition of the London Sketch
Club Messrs. Graves or-
ganised in their galleries
an interesting show of
the works of M. Andre
Dauchez, in which that
clever and versatile land-
scape painter appeared at
his best. It must not be
forgotten that M. Dauchez
was one of the very first
artists noticed in The
Studio, so that it is a
special gratification to note
his success.
At the Hessele Gallery
M. Ramon Pichot has
collected a number of his
drawings and paintings.
He is a member of the
gifted and original group
of Spanish artists domi-
ciled in Paris, who deserve
far more than the passing notice I can give them
here; amongst whom may be specially named
Iturino, Battle, Regoyos, Canal, and Durio.
M. Gaston Prunier recently brought together, in
the Serrurier Galleries, a selection of paintings and
water-colours, some of which had already been seen
either at the Salons or in the smaller exhibitions.
The selection has been most happily made, and the
impression one carries away is that M. Prunier
certainly deserves to be better known than he has
been hitherto.
Allied to no school—which, to my thinking, is a
high merit—and having neither the methods nor
the stamp of any particular group, Prunier shows
himself absolutely modern in his manner, while
giving evidence, by a very diversified choice of
subjects, of his aptitude to grasp the meaning of
spectacles essentially varied. In this exhibition
are to be seen pictures done since 1888, and these
show the artist’s successive evolutions. First of
all, he chooses Paris—Paris and its bridges, its
gardens, its statue-thronged parks, its fairy skies,
its melancholy outskirts. During 1893 and 1894
the artist was right in the heart of nature in the
Pyrenees, and his brush, accustomed as it was to
the Parisian outlook, to the delicate lines of its
monuments, nevertheless revealed a rare aptitude
in grasping the meaning of the massive, formidable
structure of the mountain, the mysterious depth of
“LES REMPARTS DE ST. MALO
344
BY JEAN DUVAL