Studio: international art (35.1905)

Studio-Talk

LANDSCAPE BY G. ACHEN

inclined to place within
the second category.

Possessed of a sensitive
susceptibility and a cul-
tured, appreciative eye, he
generally insists upon more
dignified lines than do
many of his confreres;
but his brush, although
fastidious and at times, per-
haps, somewhat reserved,
is more indulgent as re-
gards colour than the
section just referred to.

Achen is least of all a
specialist. The Luxem-
bourg possesses an interior
by him, and the Danish
National Gallery some
admirable portraits; and
he depicts with equal
skill the most varied scenery—the undulating corn-
field, in the rich, mellow hues of a setting harvest
sun; a sandy, winding roadway over a sparse Jut-
land moor; rolling clouds or a brewing storm ; or,
as in one of the pictures reproduced, a forest lake,
trees and shrubs, and atmosphere yet moist after
a summer’s rain, fresh moisture ascending from the
wet soil and the reed-covered pond—a picture of

rare charm, and of the three perhaps the one most
characteristic of Achen at his best as a landscapist.
With his portraits and his “ interiors ” I hope to
have an opportunity of dealing by-and-by.

After several decades of comparative stagnation
a change has during the last few years come over
the spirit of the dream of Danish sculpture. Freer
and much less conventional
ideas have manifested them-
selves, both in treatment
and, still more, in the far
wider range of subjects.
Even philosophical maxims
—at times simple, at other
times more composite-
have on several occasions
tempted some of the clever-
est amongst the younger
Danish sculptors, who have
thereby distinctly enlarged
the domain of sculpture,
although the consumma-
tion has in more than
one instance been left
behind by the almost too
pregnant imagination of the
artist. Prominent amongst
the younger Danish sculp-
tors is Rudolph Tegner,
who has for several years
studied and also exhibited
in Paris, and of whose
359

“after rain”

BY G. ACHEN