DOI Heft:
No. 154 (January, 1906)
DOI Artikel:Studio-talk
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.20713#0378
Studio-Talk
works. Another version of this subject was lent by
M. Vollard.
Where can one see a portrait more admirable
in its depth than that of Emile Zola in his study,
a work with which the portrait of Eva Gonzales
stands comparison for the fulness of its colour ?
The Concert aux Tuileries also demands our
study, both as a priceless document on society in
i860 and for the grand quality of its execution.
The pastels in this room formed one of its most
fascinating corners. Indeed, the great artist handled
this medium with a savour and a charm all his
own. His portraits of Mme. Guillemet and Mme.
Zola and his Femme dans un Tub stand as models
of this class of work.
Another very attractive feature of this autumn
salon was the curious display of Japanese land-
scapes, brought together by the initiative of M.
Andre Germain and M. Pierre Roche, the authors
of these works being two Tokio painters, Yokoyama-
Taikan and Hishida-Shuinso. These delightful
visions of Japanese nature enchant one by their novel
forms and their marvellous harmonies of colour.
A real delight to the eye is the second Salon of
Engraving in Colours which is being held at Georges
Petit’s Gallery, still under the presidency of Raffaelli,
who is truly the restorer of engraving in colours.
The majority of the exhibitors show themselves to-
be growing more and more masters of method and
technique, and the result is a collection of little
works of delightful freshness.
Both in landscape and in figure genuine talent
proclaims itself. M. de Touche is a worthy
descendant of the peintres galants of the eighteenth
century. M. Balestrier exhibits a large work,
Le Crepuscule des Dieux (Siegfried borne across the
forests towards the Rhine), which is one of the
most notable things in this little Salon. MM.
Bompard, Chabanian and Meunier interpret, now
delicately, now with fougue, intimate bits of Venice,
and M. Boutet de Monvel shows a distinction
which reminds one of Nicholson, while still
striking a note of his own.
Charles Cottet, too, devotes himself to engraving
in colour, and therein remains the vigorous colourist
we know so well. Other landscapists, too, are
MM. Dagnaux, Dauphin (Scenes of Toulon)
“on the sands of sylt”
360
(See Berlin Studio-Talk)
BY O. FRENZEL
works. Another version of this subject was lent by
M. Vollard.
Where can one see a portrait more admirable
in its depth than that of Emile Zola in his study,
a work with which the portrait of Eva Gonzales
stands comparison for the fulness of its colour ?
The Concert aux Tuileries also demands our
study, both as a priceless document on society in
i860 and for the grand quality of its execution.
The pastels in this room formed one of its most
fascinating corners. Indeed, the great artist handled
this medium with a savour and a charm all his
own. His portraits of Mme. Guillemet and Mme.
Zola and his Femme dans un Tub stand as models
of this class of work.
Another very attractive feature of this autumn
salon was the curious display of Japanese land-
scapes, brought together by the initiative of M.
Andre Germain and M. Pierre Roche, the authors
of these works being two Tokio painters, Yokoyama-
Taikan and Hishida-Shuinso. These delightful
visions of Japanese nature enchant one by their novel
forms and their marvellous harmonies of colour.
A real delight to the eye is the second Salon of
Engraving in Colours which is being held at Georges
Petit’s Gallery, still under the presidency of Raffaelli,
who is truly the restorer of engraving in colours.
The majority of the exhibitors show themselves to-
be growing more and more masters of method and
technique, and the result is a collection of little
works of delightful freshness.
Both in landscape and in figure genuine talent
proclaims itself. M. de Touche is a worthy
descendant of the peintres galants of the eighteenth
century. M. Balestrier exhibits a large work,
Le Crepuscule des Dieux (Siegfried borne across the
forests towards the Rhine), which is one of the
most notable things in this little Salon. MM.
Bompard, Chabanian and Meunier interpret, now
delicately, now with fougue, intimate bits of Venice,
and M. Boutet de Monvel shows a distinction
which reminds one of Nicholson, while still
striking a note of his own.
Charles Cottet, too, devotes himself to engraving
in colour, and therein remains the vigorous colourist
we know so well. Other landscapists, too, are
MM. Dagnaux, Dauphin (Scenes of Toulon)
“on the sands of sylt”
360
(See Berlin Studio-Talk)
BY O. FRENZEL