DOI Heft:
No. 156 (March, 1906)
DOI Artikel:The arts and crafts exhibition at the Grafton Gallery, [2]
DOI Artikel:Keyzer, Frances: Modern french pastellists: L. Lévy-Dhurmer
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.20714#0164
Modern French Pastellists
designed and executed by Miss E. G. Woolrich,
which affords an example of a well-thought-out bind-
ing in leather and a harmonious combination with
the brown wood of the covers. The metal clasps are
in thorough keeping with the binding of the book,
■and the execution of the whole leaves nothing to be
desired. The design of the binding is particularly
attractive. The. book is exhibited in a case contain-
ing a great deal of quite interesting work : a leather
box by Miss Nelia Casella, beautifully executed, but
frankly reviving moiifs of old leather work; and three
or four bookbindings of considerable interest—
viz., Mr. S. S. Hewitt-Bats' "Rossetti," Miss Janet
Mahomed's " Lectures by W. Morris," " Chaucer's
Canterbury Tales," by Miss Irma T. Rowntree,
■" The New Life " and Keats' " Sonnets," by Miss
Isabel Logan—books showing the best elements of
modern bookbinding, by their thorough workman-
ship and by their original and apt designs. Whilst
observing closely good tradition, the designers have
proved themselves the possessors of individuality,
and this gives a distinctive character to their
respective works. (To be continued.)
MODERN FRENCH PASTEL-
LISTS: L. LEVY-DHURMER.
BY FRANCES KEYZER.
It was about eight or nine years ago that the
name of Levy-Dhurmer began to make a stir in
the art world. An exhibition which he held at the
Georges Petit Galleries, comprising a collection of
the work he had done during a period of ten years,
attracted the attention of connoisseurs ; and since
then every canvas he has produced has been
welcomed as an interesting achievement.
M. Levy-Dhurmer has undoubtedly studied the
methods of Leonardo, whose influence is especially
noticeable in his early manner, and has sought the
same forms of expression as the great Florentine.
As remarked in an article on his work as a painter
which appeared in The Studio for February, 1897,
it was from the great Italian masters of the four-
teenth and fifteenth centuries that he acquired his
love of the imaginative and the ideal. Never-
theless modern art has had an unmistakable
influence on the smile of the Circes and Naiades
' JEUNES
144
TUNISIENS
BY L. LEVY-DHURMER
designed and executed by Miss E. G. Woolrich,
which affords an example of a well-thought-out bind-
ing in leather and a harmonious combination with
the brown wood of the covers. The metal clasps are
in thorough keeping with the binding of the book,
■and the execution of the whole leaves nothing to be
desired. The design of the binding is particularly
attractive. The. book is exhibited in a case contain-
ing a great deal of quite interesting work : a leather
box by Miss Nelia Casella, beautifully executed, but
frankly reviving moiifs of old leather work; and three
or four bookbindings of considerable interest—
viz., Mr. S. S. Hewitt-Bats' "Rossetti," Miss Janet
Mahomed's " Lectures by W. Morris," " Chaucer's
Canterbury Tales," by Miss Irma T. Rowntree,
■" The New Life " and Keats' " Sonnets," by Miss
Isabel Logan—books showing the best elements of
modern bookbinding, by their thorough workman-
ship and by their original and apt designs. Whilst
observing closely good tradition, the designers have
proved themselves the possessors of individuality,
and this gives a distinctive character to their
respective works. (To be continued.)
MODERN FRENCH PASTEL-
LISTS: L. LEVY-DHURMER.
BY FRANCES KEYZER.
It was about eight or nine years ago that the
name of Levy-Dhurmer began to make a stir in
the art world. An exhibition which he held at the
Georges Petit Galleries, comprising a collection of
the work he had done during a period of ten years,
attracted the attention of connoisseurs ; and since
then every canvas he has produced has been
welcomed as an interesting achievement.
M. Levy-Dhurmer has undoubtedly studied the
methods of Leonardo, whose influence is especially
noticeable in his early manner, and has sought the
same forms of expression as the great Florentine.
As remarked in an article on his work as a painter
which appeared in The Studio for February, 1897,
it was from the great Italian masters of the four-
teenth and fifteenth centuries that he acquired his
love of the imaginative and the ideal. Never-
theless modern art has had an unmistakable
influence on the smile of the Circes and Naiades
' JEUNES
144
TUNISIENS
BY L. LEVY-DHURMER