DOI Heft:
No. 173 (August, 1907)
DOI Artikel:Studio-talk
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.20775#0265
Studio- Talk
Amongst other noticeable landscapes in the
Spanish section were those of A. Casas ; a brilliant
garden scene by this artist giving a wonderful feeling
of heat in its bluey-violet sky. Then there were
some curious and eccentric works by J. Mir, show-
ing sometimes, as in his El Roca de VEstang, cool
rocks surrounded by limpid pools ; at other times,
as in Els Arbres Alts (The High Trees), buildings
visible through the stems and leaves, the whole
treated with such a mosaic of spots of brilliant
fantastic colour, that one seemed to be looking
at some production of grotesque Japanese design.
Two such absolutely opposed styles are somewhat
remarkable in one man. Rusinol sent several in-
teresting tree subjects, and The Rainbow of
S. Regoyos showed a clever and effective manipu-
lation of light, while E. Galwey's white-blossom
trees, seen against a deep-blue sky, revealed much
charm of treatment and colour.
In J. M. Tamburini one found an idealist. His
Tesus Infant was marked by refinement of colour
and restraint of treatment, combined with a poetic
conception of his subject. Next to this was
L. Barrau's Cafe de Marina, a realistic cafe' scene,
with curious effect produced by the reflection of
green trees on the shining marble of the cafe table.
Another interesting effect of reflection was to be
noticed in M. Feliu's study from the nude—a
young girl lying on a sofa with the flickering light
from an unseen fire reflected on her head and
shoulder; the effect somewhat bizarre certainly,
but the quality of paint fine. Entirely different in
treatment was E. Casals' Un Rafto, an admirable
piece of construction, colour, and handling.
Almost an entire room was devoted to the works
of Ramon Casas. The place of honour was
occupied by his large equestrian portrait of King
Alfonso XIII., exhibited at the New Gallery last
autumn. Fine though it is, the sketch for it, made
from the life, which was hung exactly opposite, is
infinitely finer. The paint is quite thin and slight,
but the work is that of a master, and there is not
Amongst other noticeable landscapes in the
Spanish section were those of A. Casas ; a brilliant
garden scene by this artist giving a wonderful feeling
of heat in its bluey-violet sky. Then there were
some curious and eccentric works by J. Mir, show-
ing sometimes, as in his El Roca de VEstang, cool
rocks surrounded by limpid pools ; at other times,
as in Els Arbres Alts (The High Trees), buildings
visible through the stems and leaves, the whole
treated with such a mosaic of spots of brilliant
fantastic colour, that one seemed to be looking
at some production of grotesque Japanese design.
Two such absolutely opposed styles are somewhat
remarkable in one man. Rusinol sent several in-
teresting tree subjects, and The Rainbow of
S. Regoyos showed a clever and effective manipu-
lation of light, while E. Galwey's white-blossom
trees, seen against a deep-blue sky, revealed much
charm of treatment and colour.
In J. M. Tamburini one found an idealist. His
Tesus Infant was marked by refinement of colour
and restraint of treatment, combined with a poetic
conception of his subject. Next to this was
L. Barrau's Cafe de Marina, a realistic cafe' scene,
with curious effect produced by the reflection of
green trees on the shining marble of the cafe table.
Another interesting effect of reflection was to be
noticed in M. Feliu's study from the nude—a
young girl lying on a sofa with the flickering light
from an unseen fire reflected on her head and
shoulder; the effect somewhat bizarre certainly,
but the quality of paint fine. Entirely different in
treatment was E. Casals' Un Rafto, an admirable
piece of construction, colour, and handling.
Almost an entire room was devoted to the works
of Ramon Casas. The place of honour was
occupied by his large equestrian portrait of King
Alfonso XIII., exhibited at the New Gallery last
autumn. Fine though it is, the sketch for it, made
from the life, which was hung exactly opposite, is
infinitely finer. The paint is quite thin and slight,
but the work is that of a master, and there is not