DOI Heft:
No. 178 (January, 1908)
DOI Artikel:Garstin, Norman: On stencil cutting: an open letter from Mr. Norman Garstin
DOI Artikel:Studio-talk
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.20776#0352
Studio- Talk
ALTAR FRONTAL, ST. PATRICK'S CATHEDRAL, DUBLIN DESIGNED BY MISS WHITTY
PARIS.—Berthe Morisot was one of those
forgotten or insufficiently appreciated
artists to whom the Committee of the
Salon d'Automne did homage at their
recent exhibition. With Mary Cassatt she was, by
reason of her subtle and charming gifts, one of the
most talented of the Impressionist phalanx. No
palette surpassed hers in vitality and freshness when
recording such subjects as flowers and sunny
gardens, groups of gaily dressed children, or
children at their play in the park or on the sea-
shore in a flood of dazzling light. As the sister-in-
law of Manet she evidently fell under the influence
of that highly gifted man, but at the same time her
individuality was attested by an ample endowment
of sentiment, by an original style of composition,
and by a truly feminine sympathy for children.
Like the other Impressionists, she was at first
absolutely ignored, but a few years ago MM.
Durand-Ruel organised an exhibition of her works,
and now the Salon dAutomne has definitely
established her fame. Most of the works shown
in the room set apart for her were lent by amateurs.
MM. Durand-Ruel also contributed some of them,
and three are here reproduced.
It was a happy idea of MM. Chaine and
Simonson to organise, as they did recently at their
Galerie des Artistes Modernes, an exhibition of a
choice selection from the works of Cazin. It would
indeed be hardly possible to do too much honour
to this great artist, who forms a connecting link
between the art of the greatest Dutch landscape
painters and that of the Barbizon masters. At
this exhibition, where Cazin's painting once more
318
deeply impressed us with its noble simplicity and
broad, open facture, the series of works brought
together were of various degrees of importance, but
all alike were interesting; even in the least of his
little "notes" — be it a corner of the dunes
he loved so much, or an effect of light on the
marshes of the Somme—Cazin always speaks with
"ENFANT EN CHEMISE" BY BERTHE MORISOT
ALTAR FRONTAL, ST. PATRICK'S CATHEDRAL, DUBLIN DESIGNED BY MISS WHITTY
PARIS.—Berthe Morisot was one of those
forgotten or insufficiently appreciated
artists to whom the Committee of the
Salon d'Automne did homage at their
recent exhibition. With Mary Cassatt she was, by
reason of her subtle and charming gifts, one of the
most talented of the Impressionist phalanx. No
palette surpassed hers in vitality and freshness when
recording such subjects as flowers and sunny
gardens, groups of gaily dressed children, or
children at their play in the park or on the sea-
shore in a flood of dazzling light. As the sister-in-
law of Manet she evidently fell under the influence
of that highly gifted man, but at the same time her
individuality was attested by an ample endowment
of sentiment, by an original style of composition,
and by a truly feminine sympathy for children.
Like the other Impressionists, she was at first
absolutely ignored, but a few years ago MM.
Durand-Ruel organised an exhibition of her works,
and now the Salon dAutomne has definitely
established her fame. Most of the works shown
in the room set apart for her were lent by amateurs.
MM. Durand-Ruel also contributed some of them,
and three are here reproduced.
It was a happy idea of MM. Chaine and
Simonson to organise, as they did recently at their
Galerie des Artistes Modernes, an exhibition of a
choice selection from the works of Cazin. It would
indeed be hardly possible to do too much honour
to this great artist, who forms a connecting link
between the art of the greatest Dutch landscape
painters and that of the Barbizon masters. At
this exhibition, where Cazin's painting once more
318
deeply impressed us with its noble simplicity and
broad, open facture, the series of works brought
together were of various degrees of importance, but
all alike were interesting; even in the least of his
little "notes" — be it a corner of the dunes
he loved so much, or an effect of light on the
marshes of the Somme—Cazin always speaks with
"ENFANT EN CHEMISE" BY BERTHE MORISOT