Studio: international art (35.1905)

Studio- Talk

OPENHAGEN.
—For several
decades Danish
painters have had

the one word, naturalism,
inscribed in golden letters,
on that banner under which
they have wrought many a
doughty deed, scored many
a gallant victory. They
have, on the whole, marched
under this device in a fairly
homogeneous and continu-
ous phalanx, in serene con-
tentment, without much
demur. True, now and
again some independent
spirit, anxious to strike out
a line of his own, absented
himself from the fold;
but it is only of late
that voices of dissent
have been heard in the
van. There are signs and
forebodings of a new movement taking shape—
not definitely as yet, perhaps, still sufficiently

“the road into the village”

(See Prague Studio-Talk)

BY SLAVICEK

distinct to indicate its bearing, if not its width
and its breadth. There is in some quarters a crav-
ing for more grandeur, for
a greater simplicity in lines,
for a more architectural
and less incidental building
up of the picture, for sim-
plifying, in some cases for
lowering colour — endea-
vours destined, perhaps, to
rejuvenate, maybe some
think elevate, Danish art,
however honourable its
past and present record.
Some few have accepted,
wholly and unhesitatingly,
the new gospel; others
content themselves with a
more discreet appreciation,
and have been less, if at
all, affected by its teaching ;
others, again—a vast ma-
jority so far —- hold com-
pletely aloof from what
many of them denounce as
flagrant heresy.

G. Achen, of whose land-
scapes we to-day publish
“summer time” (See Prague Studio-Talk) by hudecek three reproductions, I am

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