Studio: international art (48.1910)

Studio-Talk

studies for his wall and easel paintings, which
proclaim the triumph of the colourist as well
as of the physiognomist.

The Thoma Exhibition at Gurlitt's was an ex-
ceptionally interesting one on account of the dis-
crimination shown in the choice of the exhibits.
We know Thoma well as the composer of biblical or
rural scenes in the homely style of our Schongauer
or Richter. We know him also as the adorer of
Italian scenery and mythology; but we could not
always admire works of that kind. Generally he
is most delightful in landscape, and landscape was
the dominant feature in the Gurlitt show. Whether
Thoma paints the country of the Rhine, the Main,
the Danube, the Black Forest or Italy, we always
hear the music of the silent hymn-singer in the
revelations of his brush. Facts are stated in
abundance, but never without their significance,
and whenever man and animal figure in the
scenery, they are always the essential parts of an
organic entity.

STUDY FOR "THE SERMON ON THE MOUNT"

BY EDUARD VON GEBHARDT

The Salon Cassirer has been holding an exhibi-
tion of the latest works of Ulrich Hiibener and
Lovis Corinth. Both artists again gave proof
of talent and taste, without betraying new de-
velopment, and it is to be regretted that they do
not somewhat limit fertility in favour of patient
execution. J. J.

PARIS.—The George Petit Galleries were
occupied during October last with
the sixth Salon of the "Gravure Origi-
nale en Couleurs," and again, as I
did in the case of the previous show, I must
comment upon the great progress made by the
excellent Society, under the able presidency of
Mons. J. F. Raffaelli. The number of works
exhibited—totalling no less than 378—was an
evidence of the importance of this salon, and there
was an abundance of interesting engravings on the
walls. Among the most charming, I recollect
' those of M. F. Charlet, which, while full of the true
spirit of the etcher's art, were very reminiscent of
certain of his most beautiful water-colours. In
his work and that of M. Luigini we always find
something of a higher order than mere " visiting
card" engraving or things hurriedly botched up
with a view to a successful sale; their plates are
carefully worked on, and each proof from them is
a veritable treasure. In the same category I place
also M. Abel Truchet's engravings of Venice,
remarkable for their warmth of colouring.

M. Simon gains each year a more complete
mastery of the art and has an exceedingly agree-
able style, while his very sensitive line, and the
adroitness with which he controls the "biting,"
betray the born etcher. Paris sketches are in
particular his speciality, and we now give a repro-
duction of one of the most important of these.
Most of the exhibitors remained true to their
accustomed haunts ; so we found M. Arsene Cha-
banian remaining always the excellent painter of
those well-known seascapes of his; he is at his
best in depicting a simple view of the open sea, in
order to fix upon his plate the most diverse aspects
of nature. M. Louis Dauphin depicted in his
etchings the little sunny ports of the south of
France, M. Gustave Fraipont showed a view of
Malines (one of the most beautiful things in the
show), M. Guirand de Scevola the terrace at
Versailles, M. Latenay some scenes at Fontaine-
bleau of indefinable charm, M. Marten van der
Loo views of Ghent, Malines and Lierre, M.
Jeanniot visions of the beau monde, and M.