DOI issue:
No. 200 (November, 200)
DOI article:Studio-talk
DOI Page / Citation link:https://doi.org/10.11588/diglit.20968#0184
Studio- Talk
success of this undertaking lies foremost in the
victory of a tendency towards simplification and
distinction. Although some examples of a kind of
Christmas-show arrangement and of scenic tableaux
were much appreciated, the majority of the judges
decided in favour of constructively dressed and
reserved shop window decorations. As the com-
petition is to be made an annual arrangement,
visitors will soon find a promenade through the
streets of Berlin an aesthetic pleasure. J. J.
NEW YORK.—Among the few American
painters of nocturnes Albert P. Lucas
occupies a position of unquestionable
importance. In the work of the last
few years he has proven in a clear manner that he
is imbued to a high degree with that sympathy
and sensitiveness to the primitive influences of
nature, of the soil, the air and sea, which mark the
really progressive landscape artist. Lucas loves
nature in her weird, solitary and sumptuous moods,
and whether his subject is one of fancy or actuality
he sees her in colour pageants, rich and glowing.
Landscapes like those we reproduce are the in-
162
terpretations of a dreamer and a poet, careless
perhaps in some matter of detail, but invariably
capturing the magic of nature, the mystery of wind
and clouds, the brooding spirit of trees, the gleam
and murmur of water.
In 1882 Lucas went abroad, staying away for
the unusual length of time of twenty years. First
visiting Belgium and Holland, he proceeded from
there to Paris and studied for five years at the
Ecole des Beaux-Arts. After seeing Hebert's
Malaria, that created a sensation in the fifties, he
entered the artist's studio (though not much
favoured by American students) and worked there
for five consecutive years. His Uappel received a
medal, and was put in a place of honour at the
Salon of 1896. From Paris Lucas went to Italy
and became deeply impressed by the art of
Botticelli, Luini, Fra Angelico and Correggio. He
returned to America in 1902, and since has resided
in New York. Like many of his confreres he is
somewhat epicurean and cosmopolitan in his
tastes, often visiting foreign countries, more especi-
ally France and Italy, a certain longing for the
success of this undertaking lies foremost in the
victory of a tendency towards simplification and
distinction. Although some examples of a kind of
Christmas-show arrangement and of scenic tableaux
were much appreciated, the majority of the judges
decided in favour of constructively dressed and
reserved shop window decorations. As the com-
petition is to be made an annual arrangement,
visitors will soon find a promenade through the
streets of Berlin an aesthetic pleasure. J. J.
NEW YORK.—Among the few American
painters of nocturnes Albert P. Lucas
occupies a position of unquestionable
importance. In the work of the last
few years he has proven in a clear manner that he
is imbued to a high degree with that sympathy
and sensitiveness to the primitive influences of
nature, of the soil, the air and sea, which mark the
really progressive landscape artist. Lucas loves
nature in her weird, solitary and sumptuous moods,
and whether his subject is one of fancy or actuality
he sees her in colour pageants, rich and glowing.
Landscapes like those we reproduce are the in-
162
terpretations of a dreamer and a poet, careless
perhaps in some matter of detail, but invariably
capturing the magic of nature, the mystery of wind
and clouds, the brooding spirit of trees, the gleam
and murmur of water.
In 1882 Lucas went abroad, staying away for
the unusual length of time of twenty years. First
visiting Belgium and Holland, he proceeded from
there to Paris and studied for five years at the
Ecole des Beaux-Arts. After seeing Hebert's
Malaria, that created a sensation in the fifties, he
entered the artist's studio (though not much
favoured by American students) and worked there
for five consecutive years. His Uappel received a
medal, and was put in a place of honour at the
Salon of 1896. From Paris Lucas went to Italy
and became deeply impressed by the art of
Botticelli, Luini, Fra Angelico and Correggio. He
returned to America in 1902, and since has resided
in New York. Like many of his confreres he is
somewhat epicurean and cosmopolitan in his
tastes, often visiting foreign countries, more especi-
ally France and Italy, a certain longing for the