DOI Heft:
No. 172 (July, 1907)
DOI Artikel:Pica, Vittorio: A painter of gardens: Santiago Rusiñol
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.20775#0132
A Painter of Gardens: Santiago Rusinol
1MB j
Segantini, nor in the un-
draped human forms in
the placid twilights of
Menard; but rather he
takes the nature that man
knows and loves, with
its gardens and terraces
created for his hours of
peace and pleasure. Ru-
sinol has the secret gift
of vividly bringing before
us the figures of those who
lived, loved and suffered
there, an hour, a year, or a
century ago; the person-
ages, young or old, who
rested under the shadow
of the trees, who gathered
flowers in spring or fruit
in autumn, who strolled
in the shady walks now
deserted and moss-grown,
"le petit bassin de fontaine " by Santiago rusinol who gazed on the statues
now fallen and shattered,
autumn sunset, by falling walls, broken marble and on the chaste fountains now silent and dry.
steps, by fragments of moss-grown statues and Alas ! all are gone; but Rusinol has the peculiar
walks overgrown with weeds, and by the
dreamy sadness of his own poetic imagi-
nation. From that day forth all, or
nearly all, his artistic activities were
utilised in reproducing, by the aid of
his masterly brush, the gardens of all
the great and noble cities of his beauti-
ful country. He found his inspiration
not only in princely demesnes or in
modest little gardens on the mountain
slopes, but also and chiefly in avenues and
walks amongst ruins and fountains, which
although now neglected and abandoned
by man yet reveal here and there traces
of their pristine grandeur. Nature as
reproduced by Rusinol is not nature in
its noble majesty, nor in its simple grace,
embellished by sun, poetised by moon-
light, dramatised by tempest, as so many
great masters have portrayed it, from
Ruysdael to Constable, from Rousseau
to Monet, in which nature is exalted
for its noble self, and in which human
beings play quite a secondary part, as
in Fontanesi's pictures; nor does it take
a fantastic form as in the Wood Nymphs
of Corot, nor as in the symbolical
apparitions on the Alpine heights ot << silence de midi " by Santiago rusinol
102
1MB j
Segantini, nor in the un-
draped human forms in
the placid twilights of
Menard; but rather he
takes the nature that man
knows and loves, with
its gardens and terraces
created for his hours of
peace and pleasure. Ru-
sinol has the secret gift
of vividly bringing before
us the figures of those who
lived, loved and suffered
there, an hour, a year, or a
century ago; the person-
ages, young or old, who
rested under the shadow
of the trees, who gathered
flowers in spring or fruit
in autumn, who strolled
in the shady walks now
deserted and moss-grown,
"le petit bassin de fontaine " by Santiago rusinol who gazed on the statues
now fallen and shattered,
autumn sunset, by falling walls, broken marble and on the chaste fountains now silent and dry.
steps, by fragments of moss-grown statues and Alas ! all are gone; but Rusinol has the peculiar
walks overgrown with weeds, and by the
dreamy sadness of his own poetic imagi-
nation. From that day forth all, or
nearly all, his artistic activities were
utilised in reproducing, by the aid of
his masterly brush, the gardens of all
the great and noble cities of his beauti-
ful country. He found his inspiration
not only in princely demesnes or in
modest little gardens on the mountain
slopes, but also and chiefly in avenues and
walks amongst ruins and fountains, which
although now neglected and abandoned
by man yet reveal here and there traces
of their pristine grandeur. Nature as
reproduced by Rusinol is not nature in
its noble majesty, nor in its simple grace,
embellished by sun, poetised by moon-
light, dramatised by tempest, as so many
great masters have portrayed it, from
Ruysdael to Constable, from Rousseau
to Monet, in which nature is exalted
for its noble self, and in which human
beings play quite a secondary part, as
in Fontanesi's pictures; nor does it take
a fantastic form as in the Wood Nymphs
of Corot, nor as in the symbolical
apparitions on the Alpine heights ot << silence de midi " by Santiago rusinol
102