DOI Heft:
No. 174 (September, 1907)
DOI Artikel:The Seventh International Exhibition of Art at Venice, 1907
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.20775#0308
The Venice Exhibition, igoy
trait!; and, still more, J. P.
Laurens' Portrait de mes
Parents. But the artist
who really shines in this
room is Blanche, whose
Venetian Glass was one
of the successes of the
last Exhibition. Here he
has a lady in travelling
dress—La Voyageuse ; an
English portrait (Mrs.
Montgomery Lang), and,
above all, his delightful
Cherubi?w, where the tech-
nique (especially in the
hands) is as easy and
almost as brilliant as that
of a Sargent. Curiously
enough the nudes are the
weakest part in the French
portrait of giosue carducci iiY alessandro MiLEsi room. How entirely con-
ventional is Fantin-Latour's
the treatment contrasts with a subject which is so Eve; and when even Carolus-Duran paints a lady
often a synonym for superficiality. with bright red hair, upon a still brighter crimson
The Norwegian room need not detain us and we plush divan, one is tempted to ask (under one's
may make our next halt at the Austrian Sala. breath, before such a known master) whether flesh
Here, in place of the gold of two years ago, white is not, in its way, as recipient of surrounding colour
is the keynote of the decoration, for which the as a mirror, and whether it is conceivable that
Hagenbund of Vienna is responsible. The effect this young person, unless she had been carefully
is cool and fresh, and ample space is given for the enamelled all over before posing, could lie amid
pictures ; but these are frequently more like studies such glowing surroundings without some resultant
than finished works. I do not speak of Walter reflections being apparent in her flesh tints ?
Hampel's clever Dwarf
and Woman, where the
influence of his master,
Mackart, appears ; nor of
August Roth's Autumn;
but what shall we say of
the paintings of Preisler,
of Uprka or Jan Stursa,
whose young girl in bronze,
a Puberte, has the faults
of the beginner — over
elaboration of detail and
complete lack of ensemble ?
The majolica by Powolny
is very attractive.
In the French room we
at once pick out some
paintings of real merit,
such as Besnard's portrait
of M. Barrere, the French
Ambassador in Italy;
Carolus-Duran's male por- venice exhibition (Photo. A. Tivoli, Venice) the Russian room
270
trait!; and, still more, J. P.
Laurens' Portrait de mes
Parents. But the artist
who really shines in this
room is Blanche, whose
Venetian Glass was one
of the successes of the
last Exhibition. Here he
has a lady in travelling
dress—La Voyageuse ; an
English portrait (Mrs.
Montgomery Lang), and,
above all, his delightful
Cherubi?w, where the tech-
nique (especially in the
hands) is as easy and
almost as brilliant as that
of a Sargent. Curiously
enough the nudes are the
weakest part in the French
portrait of giosue carducci iiY alessandro MiLEsi room. How entirely con-
ventional is Fantin-Latour's
the treatment contrasts with a subject which is so Eve; and when even Carolus-Duran paints a lady
often a synonym for superficiality. with bright red hair, upon a still brighter crimson
The Norwegian room need not detain us and we plush divan, one is tempted to ask (under one's
may make our next halt at the Austrian Sala. breath, before such a known master) whether flesh
Here, in place of the gold of two years ago, white is not, in its way, as recipient of surrounding colour
is the keynote of the decoration, for which the as a mirror, and whether it is conceivable that
Hagenbund of Vienna is responsible. The effect this young person, unless she had been carefully
is cool and fresh, and ample space is given for the enamelled all over before posing, could lie amid
pictures ; but these are frequently more like studies such glowing surroundings without some resultant
than finished works. I do not speak of Walter reflections being apparent in her flesh tints ?
Hampel's clever Dwarf
and Woman, where the
influence of his master,
Mackart, appears ; nor of
August Roth's Autumn;
but what shall we say of
the paintings of Preisler,
of Uprka or Jan Stursa,
whose young girl in bronze,
a Puberte, has the faults
of the beginner — over
elaboration of detail and
complete lack of ensemble ?
The majolica by Powolny
is very attractive.
In the French room we
at once pick out some
paintings of real merit,
such as Besnard's portrait
of M. Barrere, the French
Ambassador in Italy;
Carolus-Duran's male por- venice exhibition (Photo. A. Tivoli, Venice) the Russian room
270