DOI issue:
Nr. 182 (May 1908)
DOI article:Lees, Frederic: Emile Wauters, Belgian portrait-painter
DOI Page / Citation link:https://doi.org/10.11588/diglit.20777#0316
Emile JVauters
is plenty of sunlight out of doors, Monsieur
Wauters, but I find even still more inside.”
After this noteworthy success the artist received
proposals from all sides to execute similar pieces of
work. Among these was a commission to paint
for a Belgian company another large canvas, entitled
King Sobieski and his Staff on the Heights of
Kahlenberg., which, after being exhibited in Vienna
and Warsaw, was purchased by the Belgian Govern-
ment for the Brussels Art Gallery. No sooner was
this picture finished than another Brussels com-
pany gave him an even more important order, but
one which, owing to the bad state of his health,
he was unfortunately unable to accept. This com-
pany had decided to build a Hindoo temple in one
of the London squares, and to have on view an
immense canvas, without artificial foreground,
representing the entry of the Prince of Wales into
Benares.
At the same time that he refused this Benares
commission he was obliged to abandon the idea of
painting the coronation of Alexander III. at
Moscow, which another company ordered from him.
The work was given to M. Becker, a French painter.
Wauters felt drawn towards sunny lands, so he set
off for Morocco, whence he returned after some
eight months, bringing with him a number of pictures
of fresh scenes, painted in a new manner. These
included The Young Riffan Fisherman and The
Seagull's Nest., two Eastern idylls, full of poetical
feeling, observed in the twilight from the terrace of
his studio at Tangier. A Snake-Charmer of
Tangier, which is among our reproductions, was
painted during this sojourn.
It was on returning from these travels in lands
of sunshine that Emile Wauters resumed his work
(never again to abandon it) as a portrait-painter,
a branch of art which he had previously followed
with success, and in which he is to-day recognised
as a master.
At the 1898 Paris Exhibition, at which Sargent
(for whose work Emile Wauters has the sincerest
admiration, owing to its sincerity, its probity, its
artistic novelty, and the breadth of its facture,
so simply expressed) obtained a grand prix with
his fine portrait of Mrs. White, Wauters was also
“A SNAKE-CHARMER OF TANGIER1'
BY EMILE WAUTERS
(In the Collection of Col. Thys)
297
is plenty of sunlight out of doors, Monsieur
Wauters, but I find even still more inside.”
After this noteworthy success the artist received
proposals from all sides to execute similar pieces of
work. Among these was a commission to paint
for a Belgian company another large canvas, entitled
King Sobieski and his Staff on the Heights of
Kahlenberg., which, after being exhibited in Vienna
and Warsaw, was purchased by the Belgian Govern-
ment for the Brussels Art Gallery. No sooner was
this picture finished than another Brussels com-
pany gave him an even more important order, but
one which, owing to the bad state of his health,
he was unfortunately unable to accept. This com-
pany had decided to build a Hindoo temple in one
of the London squares, and to have on view an
immense canvas, without artificial foreground,
representing the entry of the Prince of Wales into
Benares.
At the same time that he refused this Benares
commission he was obliged to abandon the idea of
painting the coronation of Alexander III. at
Moscow, which another company ordered from him.
The work was given to M. Becker, a French painter.
Wauters felt drawn towards sunny lands, so he set
off for Morocco, whence he returned after some
eight months, bringing with him a number of pictures
of fresh scenes, painted in a new manner. These
included The Young Riffan Fisherman and The
Seagull's Nest., two Eastern idylls, full of poetical
feeling, observed in the twilight from the terrace of
his studio at Tangier. A Snake-Charmer of
Tangier, which is among our reproductions, was
painted during this sojourn.
It was on returning from these travels in lands
of sunshine that Emile Wauters resumed his work
(never again to abandon it) as a portrait-painter,
a branch of art which he had previously followed
with success, and in which he is to-day recognised
as a master.
At the 1898 Paris Exhibition, at which Sargent
(for whose work Emile Wauters has the sincerest
admiration, owing to its sincerity, its probity, its
artistic novelty, and the breadth of its facture,
so simply expressed) obtained a grand prix with
his fine portrait of Mrs. White, Wauters was also
“A SNAKE-CHARMER OF TANGIER1'
BY EMILE WAUTERS
(In the Collection of Col. Thys)
297