DOI Heft:
No. 174 (September, 1907)
DOI Artikel:Khnopff, Fernand: Alexandre Struys, a Belgian painter
DOI Artikel:Ashbee, Charles R.: The "Norman Chapel" buildings at Broad Campden, in Gloucestershire
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.20775#0327
The Norman Chapel Buildings at Broad Campden
NORMAN CHAPEL, BROAD CAMPDEN, GLOS. : ENTRANCE GATES C. R. ASHBEE, ARCHITECT
He aspires to the portrayal of suffering—the suffer- slight in the main), there are many characteristic
ing of the poor, for whom he has a tender com- shades of distinction between their art and his.
passion : he shows them in the midst of their hard These shades of distinction may be very correctly
life, which haunts him continually. He points out to determined thus : Degroux and Meunier leave
the priests—the comforters of the afflicted—their more room for the imagination in their works than
duties towards the poor and wretched, who are as does Struys in his ; and this particular fact, I
lovable as the rich, or more so. And, besides a repeat, justifies us in asserting that the latter is
very precise conception of his task, he possesses a endowed with a very definite individuality, and
keen desire for truthfulness in the setting of his that there is no reason to confound his canvases—
subjects, for suitable accessories and models : so crying vengeance as they do (whether he intends
much so, that he frequently takes his model to it so or not) upon social iniquities—with the
the scene he has selected; and when several canvases of any other artist. F. K.
persons are to figure together on his canvas, he
makes the various models pose at the same time. f I HE "NORMAN CHAPEL"
Such anxiety for realistic correctness, therefore, BUILDINGS AT BROAD CAMP-
gives this master a very distinct individuality No; | ^ GLOUCESTERSHIRE,
his style does not bear any resemblance to that of m•
his compeers, either in the present or in the past, BY C- R- ASHBEE, ARCHITECT,
who have chosen to recount the miseries of Fortune's A short account, together with the series of draw-
disinherited. He has, indeed, been compared to ings prepared by Mr. P. A. Mairet, may not be
Charles Degroux more especially, and to Constantin out of place upon what is a unique building and
Meunier, painters of this type. But for anyone in its way one of the most interesting in England,
who notes the differences of ideal existent among It consists of old and modern work, and I have
artists (differences of ideal that are sometimes very tried during the two years that I have been engaged
289
NORMAN CHAPEL, BROAD CAMPDEN, GLOS. : ENTRANCE GATES C. R. ASHBEE, ARCHITECT
He aspires to the portrayal of suffering—the suffer- slight in the main), there are many characteristic
ing of the poor, for whom he has a tender com- shades of distinction between their art and his.
passion : he shows them in the midst of their hard These shades of distinction may be very correctly
life, which haunts him continually. He points out to determined thus : Degroux and Meunier leave
the priests—the comforters of the afflicted—their more room for the imagination in their works than
duties towards the poor and wretched, who are as does Struys in his ; and this particular fact, I
lovable as the rich, or more so. And, besides a repeat, justifies us in asserting that the latter is
very precise conception of his task, he possesses a endowed with a very definite individuality, and
keen desire for truthfulness in the setting of his that there is no reason to confound his canvases—
subjects, for suitable accessories and models : so crying vengeance as they do (whether he intends
much so, that he frequently takes his model to it so or not) upon social iniquities—with the
the scene he has selected; and when several canvases of any other artist. F. K.
persons are to figure together on his canvas, he
makes the various models pose at the same time. f I HE "NORMAN CHAPEL"
Such anxiety for realistic correctness, therefore, BUILDINGS AT BROAD CAMP-
gives this master a very distinct individuality No; | ^ GLOUCESTERSHIRE,
his style does not bear any resemblance to that of m•
his compeers, either in the present or in the past, BY C- R- ASHBEE, ARCHITECT,
who have chosen to recount the miseries of Fortune's A short account, together with the series of draw-
disinherited. He has, indeed, been compared to ings prepared by Mr. P. A. Mairet, may not be
Charles Degroux more especially, and to Constantin out of place upon what is a unique building and
Meunier, painters of this type. But for anyone in its way one of the most interesting in England,
who notes the differences of ideal existent among It consists of old and modern work, and I have
artists (differences of ideal that are sometimes very tried during the two years that I have been engaged
289