DOI issue:
Nr. 192 (March 1909)
DOI article:Studio-talk
DOI Page / Citation link:https://doi.org/10.11588/diglit.20966#0187
Studio-Talk
“ PROUT'S NECK, MAINE”
artists represented at the exhibition, exhibited a
few of his most recent works, showing considerable
advance in executive power on his earlier works.
His painting is marked by poetic feeling with some-
times a trace of naivete. A good example of it is
his Old Church, harmonious in composition and
colour. Celestin Medovic is portraitist, historic
genre and landscape painter, and his excep
tional virtuosity is seen in nearly everything he
essays. His landscapes are painted with great
veracity. Of his figure subjects, St. Francis of
Assisi, one of the things he showed at this exhi-
bition, is one of his best, but in portraiture he is
less distinguished, the best example of this branch
of his work being A Lady with Diadem, but even
that reminded one of Bukovac. Mirko Racki
showed a series of etchings disclosing considerable
power of invention. In his paintings, interest
centres in the vigour and novelty of his perception
rather than in the colour. Pasko Vucetic, a native
of Spalato but now living in Belgrade, also showed
some good portraits, but in general he seems to
be much influenced by Stuck. A young painter
of much ability is N. Marinkovic, whose portrait
of the philosopher Petrie speaks well for his
future. Milan Begovic.
BY WINSLOW HOMER
PHILADELPHIA.—The sixth annual ex-
hibition of the Philadelphia Water Color
Club at the Pennsylvania Academy of
Fine Arts was quite equal in interest
and quality of the work shown to any that this
thoroughly modern group of artists has held. The
jury of selection showed plainly that they were not
bound by any narrow view of what constitutes
true artistic merit, and certainly deserve great
credit for the way in which they discharged
their difficult duty. The pictures were hung on
the walls so spaced as to be most effective and
not in any way suggestive of clash of colour or of
tone. It must be said, however, that some of the
groups of works would have been less interesting
to the layman than to the painter, such, for
example, as Mr. Maurice Prendergast’s contribu-
tions, indefinite as they are in drawing, experimental
in colour. Much in the same category could be
placed M. Auguste Rodin’s group of forty-six
drawings, many of which must be quite meaningless
to the average visitor to the gallery not interested
in the preliminary work that artists of M. Rodin’s
standing find so necessary and which leaves so
much for the imagination to complete. They are
apparently sketches of partly evolved motifs made
^5
“ PROUT'S NECK, MAINE”
artists represented at the exhibition, exhibited a
few of his most recent works, showing considerable
advance in executive power on his earlier works.
His painting is marked by poetic feeling with some-
times a trace of naivete. A good example of it is
his Old Church, harmonious in composition and
colour. Celestin Medovic is portraitist, historic
genre and landscape painter, and his excep
tional virtuosity is seen in nearly everything he
essays. His landscapes are painted with great
veracity. Of his figure subjects, St. Francis of
Assisi, one of the things he showed at this exhi-
bition, is one of his best, but in portraiture he is
less distinguished, the best example of this branch
of his work being A Lady with Diadem, but even
that reminded one of Bukovac. Mirko Racki
showed a series of etchings disclosing considerable
power of invention. In his paintings, interest
centres in the vigour and novelty of his perception
rather than in the colour. Pasko Vucetic, a native
of Spalato but now living in Belgrade, also showed
some good portraits, but in general he seems to
be much influenced by Stuck. A young painter
of much ability is N. Marinkovic, whose portrait
of the philosopher Petrie speaks well for his
future. Milan Begovic.
BY WINSLOW HOMER
PHILADELPHIA.—The sixth annual ex-
hibition of the Philadelphia Water Color
Club at the Pennsylvania Academy of
Fine Arts was quite equal in interest
and quality of the work shown to any that this
thoroughly modern group of artists has held. The
jury of selection showed plainly that they were not
bound by any narrow view of what constitutes
true artistic merit, and certainly deserve great
credit for the way in which they discharged
their difficult duty. The pictures were hung on
the walls so spaced as to be most effective and
not in any way suggestive of clash of colour or of
tone. It must be said, however, that some of the
groups of works would have been less interesting
to the layman than to the painter, such, for
example, as Mr. Maurice Prendergast’s contribu-
tions, indefinite as they are in drawing, experimental
in colour. Much in the same category could be
placed M. Auguste Rodin’s group of forty-six
drawings, many of which must be quite meaningless
to the average visitor to the gallery not interested
in the preliminary work that artists of M. Rodin’s
standing find so necessary and which leaves so
much for the imagination to complete. They are
apparently sketches of partly evolved motifs made
^5