DOI issue:
No. 196 (July, 1909)
DOI article:Studio-talk
DOI Page / Citation link:https://doi.org/10.11588/diglit.20967#0164
Studio- Talk
is in keeping with
the restraint that
characterises the
outside of the
casket. Within,
the rich cham-
pleve enamel
with sumptuous
lustre, is in strik-
ing contrast,
typical of the-
varying moods of
the artist. The
small casket in
silveroid on this
page, set with
lumps of enamel
TIMEPIECE IN BEATEN BRASS
by marion h. wilson as jewels held in
position by per-
forated straps of copper, represents a successful
experiment in enamelling. J. T.
announced his “ arrival.” Of Spanish descent he
finds in the subjects of his own country the best
expression of his art. This fact he has brilliantly
attested this year in his large work Le Depart, an
episode from the races at Valencia in the eighteenth
century, and of which further description is ren-
dered unnecessary by the reproduction which
accompanies these notes. It is the work of a
brilliant colourist, who has broadly and boldly
PARIS.—At the Salon des Artistes Franpais
this year, the work of M. Vila y Prades,
a young Spanish artist of considerable
talent and a robust style, attracted notice.
His previous contributions already made us ac-
quainted with his undoubted gifts, and notably
his large triptych called Le dernier Ami,
a mournful page from Breton life. It has
not, however, been this side of his art that has
CASKET IN METAL AND ENAMEL
BY MISS DE C. LEWTHWAITE DEWAR
“ LE BAIN 5
133
distributed his light and shade, and who has here
succeeded in giving us those extraordinary con-
trasts which constitute the secret of the Spanish
school of painting. M. Vila y Prades is a disciple
of Sorolla y Bastida, and one can with truth assert
that the pupil is worthy of the master. Like him,
Vila is an excellent painter
of seascapes, and his pal-
ette renders the loveliest
cerulean and glaucous
tones of the Mediterra-
nean. I will only cite his
painting Dans Peau here-
with reproduced, which
shows us a woman wad-
ing through the breakers.
The picture L,e Bain is
on account of its light
equally excellent. Up till
now Vila y Prades has
been little known in
France. He had a trium-
phant exhibition at
Buenos Ayres, and I trust
it will not be long before
we see an ensemble of his
works either in Paris or
by t. vila y prades in London which shall
is in keeping with
the restraint that
characterises the
outside of the
casket. Within,
the rich cham-
pleve enamel
with sumptuous
lustre, is in strik-
ing contrast,
typical of the-
varying moods of
the artist. The
small casket in
silveroid on this
page, set with
lumps of enamel
TIMEPIECE IN BEATEN BRASS
by marion h. wilson as jewels held in
position by per-
forated straps of copper, represents a successful
experiment in enamelling. J. T.
announced his “ arrival.” Of Spanish descent he
finds in the subjects of his own country the best
expression of his art. This fact he has brilliantly
attested this year in his large work Le Depart, an
episode from the races at Valencia in the eighteenth
century, and of which further description is ren-
dered unnecessary by the reproduction which
accompanies these notes. It is the work of a
brilliant colourist, who has broadly and boldly
PARIS.—At the Salon des Artistes Franpais
this year, the work of M. Vila y Prades,
a young Spanish artist of considerable
talent and a robust style, attracted notice.
His previous contributions already made us ac-
quainted with his undoubted gifts, and notably
his large triptych called Le dernier Ami,
a mournful page from Breton life. It has
not, however, been this side of his art that has
CASKET IN METAL AND ENAMEL
BY MISS DE C. LEWTHWAITE DEWAR
“ LE BAIN 5
133
distributed his light and shade, and who has here
succeeded in giving us those extraordinary con-
trasts which constitute the secret of the Spanish
school of painting. M. Vila y Prades is a disciple
of Sorolla y Bastida, and one can with truth assert
that the pupil is worthy of the master. Like him,
Vila is an excellent painter
of seascapes, and his pal-
ette renders the loveliest
cerulean and glaucous
tones of the Mediterra-
nean. I will only cite his
painting Dans Peau here-
with reproduced, which
shows us a woman wad-
ing through the breakers.
The picture L,e Bain is
on account of its light
equally excellent. Up till
now Vila y Prades has
been little known in
France. He had a trium-
phant exhibition at
Buenos Ayres, and I trust
it will not be long before
we see an ensemble of his
works either in Paris or
by t. vila y prades in London which shall