Studio-Talk

nervous hands, but in the very way that
he has thrown himself down into his
chair as though he could stay for only
a moment. A. v. R. K.

VIENNA.—A short time ago a
small exhibition, at Heller’s
Fine Art Rooms, of etchings
by Marino M. Lusy, intro-
duced this artist’s work for the first time
to the Viennese. He is a native of
Trieste and has studied at Paris, where,
as at Munich, his work has long been
known and appreciated by reason of
exhibitions he has held there. Signor
Lusy’s restless, impatient temperament
leads him to seek in out-of-the-way
places for his subjects. Pre-eminently
a man of “ Stimmung,” he does not
merely represent what he sees, but in-
fuses into his work that personal ele-
ment which is essential to all true art.

“THE OLD pump’

BY COUNT LOUIS SPARRE

Sparre became constantly more and more absorbed
in this branch of art, which offered him the fullest
scope for j the expression
of his personality. In all
of his portraits, which are
pretty numerous, one feels
a delightful sense of har-
mony— both harmony of
colour and a more subtle
psychological harmony,
showing a sure intuitive
grasp of the relation
between the character of
his subject and the outer
expression of it in the
pose that he chooses to
perpetuate. In the por-
trait of his father, painted
as early as 1895 (see The
Studio, January 1906),
you feel the intense ner-
vous energy of the man,
not only in the lines of
his face and his slender
250

Lusy’s preference is for Gothic archi-
tecture, which he finds best embodies
his ideals. Scattered about the Conti-
nent are many old abbeys which have
an attraction to few besides the real
artist, who sees and feels their inward
beauties, while the ordinary traveller
will pass them by without so much as casting a
glance at them. The old abbey at Trieste is an

BY MARINO M. LUSY