DOI issue:
Nr. 150 (September 1905)
DOI article:Studio-talk
DOI Page / Citation link: https://doi.org/10.11588/diglit.20712#0371
Studio- Talk
“beguinage in Bruges”
nature, and a landscape, Vienna Forests, by Prof.
Josef Beyer, is full of that verdure and atmosphere
for which these forests are so beloved, especially
during the early spring evenings when a serene
tranquillity hovers over all, and the trees are rich in
tender shoots and buds.
Alfred Keller, a young architect who is coming
to the fore, exhibited a garden seat made of tiles
burnt copper-colour, the back being of cobalt tiles.
This was executed by Lederer and Nessenyi. The
exhibition was arranged by Josef Urban, who as
usual showed much taste and originality.
It is not often that an exhibition arouses such
general interest and admiration as the last “Se-
cession ” did. Unselfishness again gave Vienna
an opportunity of seeing the work of the best
modern artists of other lands. Among the
foreign masters, Meunier, Lagae, Barrias, Saint-
Marceaux, Carabin, Gardet, Desbois, Dalou,
Bourdelle, Bartholome, Dampt, Riche, Klinger,
Hugo Lederer, one and
all gave delight to the
public and lovers of art.
Meunier’s Head of Christ,
in bronze, is very powerful;
the sculptor has achieved
a masterly effect by the
daring arrangement of light
and shade, such as was
unknown or discarded as
bizarre by the sculptors oi
the old school. This brings
into prominence the benign
expression of our Lord,
the face is full of sym-
pathy for mankind, and of
inward suffering. This
“ Christ ” will long haunt
the memory. It fills one
with awe, and that venera-
tion born of awe. Meunier’s
other exhibit, also in bronze,
is part of a greater work,
the Monument to Labour,
which has been ordered by
the Belgian Government.
Jules Lagae (Brussels) is a
new-comer to Vienna, buthe
will always be welcome. On
the opening day, many of his
exhibits won warm praise,
particularly his Mother and
Child in bronze (the artist’s wife and child). This
work attracts by its very simplicity and naturalness,
its freshness and absence of all striving after effect.
The artist contributed bronze busts showing breadth
and knowledge. His Mask of a Child is a charm-
ing child study in repose. The other extreme of
the artist’s power may be seen in the Expiation,
which is realistic of crime and its punishment.
Ernest Barrias (Paris), in The First Head, and
Falguiere in his Cain and Abel, a fragment (the
last work of the master), aim more at realistic
effects, thus forming a contrast to the more modern
sculptors with their keynote, naturalism. Jules
Desbois (Paris) showed in his bust of Rodin
(bronze) how capable an artist he is, the charac-
teristics of the master being well brought to the
foreground; Leda and the Swan (bronze) showed
suppleness in the handling of the metal, as also a
poetry of conception; his Girl with a Bow, a
statuette in bronze and ivory, is a work full of life,
energy, freshness and vigour. Klinger’s Drama was
a long-promised treat and none were disappointed;
353
BY RAIMUND GERMELA
“beguinage in Bruges”
nature, and a landscape, Vienna Forests, by Prof.
Josef Beyer, is full of that verdure and atmosphere
for which these forests are so beloved, especially
during the early spring evenings when a serene
tranquillity hovers over all, and the trees are rich in
tender shoots and buds.
Alfred Keller, a young architect who is coming
to the fore, exhibited a garden seat made of tiles
burnt copper-colour, the back being of cobalt tiles.
This was executed by Lederer and Nessenyi. The
exhibition was arranged by Josef Urban, who as
usual showed much taste and originality.
It is not often that an exhibition arouses such
general interest and admiration as the last “Se-
cession ” did. Unselfishness again gave Vienna
an opportunity of seeing the work of the best
modern artists of other lands. Among the
foreign masters, Meunier, Lagae, Barrias, Saint-
Marceaux, Carabin, Gardet, Desbois, Dalou,
Bourdelle, Bartholome, Dampt, Riche, Klinger,
Hugo Lederer, one and
all gave delight to the
public and lovers of art.
Meunier’s Head of Christ,
in bronze, is very powerful;
the sculptor has achieved
a masterly effect by the
daring arrangement of light
and shade, such as was
unknown or discarded as
bizarre by the sculptors oi
the old school. This brings
into prominence the benign
expression of our Lord,
the face is full of sym-
pathy for mankind, and of
inward suffering. This
“ Christ ” will long haunt
the memory. It fills one
with awe, and that venera-
tion born of awe. Meunier’s
other exhibit, also in bronze,
is part of a greater work,
the Monument to Labour,
which has been ordered by
the Belgian Government.
Jules Lagae (Brussels) is a
new-comer to Vienna, buthe
will always be welcome. On
the opening day, many of his
exhibits won warm praise,
particularly his Mother and
Child in bronze (the artist’s wife and child). This
work attracts by its very simplicity and naturalness,
its freshness and absence of all striving after effect.
The artist contributed bronze busts showing breadth
and knowledge. His Mask of a Child is a charm-
ing child study in repose. The other extreme of
the artist’s power may be seen in the Expiation,
which is realistic of crime and its punishment.
Ernest Barrias (Paris), in The First Head, and
Falguiere in his Cain and Abel, a fragment (the
last work of the master), aim more at realistic
effects, thus forming a contrast to the more modern
sculptors with their keynote, naturalism. Jules
Desbois (Paris) showed in his bust of Rodin
(bronze) how capable an artist he is, the charac-
teristics of the master being well brought to the
foreground; Leda and the Swan (bronze) showed
suppleness in the handling of the metal, as also a
poetry of conception; his Girl with a Bow, a
statuette in bronze and ivory, is a work full of life,
energy, freshness and vigour. Klinger’s Drama was
a long-promised treat and none were disappointed;
353
BY RAIMUND GERMELA