DOI Heft:
No. 206 (May, 1910)
DOI Artikel:Studio-talk
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.20969#0339
Studio-Talk
Of the regular members
of the Society, La Touche
evinced his usual virtu-
osity in three important
works. Le Baise - mains
was attractive in its ex-
treme elegance, and I was
also much charmed with
his spirited and brilliant
Course de Taureaux. M.
Ferdinand Luigini is also
an artist of very personal
style. He manipulates
water-colour with an im-
pasto and a richness that
is more like oil-painting.
Luigini is familiar with all
the picturesque spots of
“ barques sur la plage ” by Alexandre marcette Flanders, and his Canal
de Bruges, Chevaux de
this year, their absence was atoned for by the fact halage, and his Pont ought not to be forgotten,
that one saw a quite remarkable series of invited Another excellent painter of Flanders whose talent
works.
The drawings shown by Madame
Lucien Simon were quite a revelation
to me. This lady’s work, which does
not in any way appear to be influenced
by her husband’s talent, is, in its warm
colouring and by reason of the subjects
chosen, comparable with the paintings
of the Primitives and of the English
Pre-Raphaelites. This criticism is par-
ticularly applicable to her mystical
Rosier, which brings back memories of
Rossetti. Another of the artists who
were invited to contribute to the Exhi-
bition was M. Jeanes, whose remark-
able work is well known. His eight
water-colours attracted attention by
their exceeding variety—they included
several mountainous landscapes—par-
ticularly L' A rib erg and the Pelmo sous
un nuage, both of seductive grandeur,
and also other pictures of a quieter
character, such as the Vieux Pont.
M. Bigot, who has made a name for
himself with his sculptures in wood,
showed some water-colours, executed
with much success, rather in the Jap-
anese manner, in which were depicted
pheasants, owls, owlets, a head of a
turkey, a hawk and a buzzard. One of
these we here reproduce.
3i4
“ COURSE DE TAUREAUX
BY GASTON LA TOUCHE
Of the regular members
of the Society, La Touche
evinced his usual virtu-
osity in three important
works. Le Baise - mains
was attractive in its ex-
treme elegance, and I was
also much charmed with
his spirited and brilliant
Course de Taureaux. M.
Ferdinand Luigini is also
an artist of very personal
style. He manipulates
water-colour with an im-
pasto and a richness that
is more like oil-painting.
Luigini is familiar with all
the picturesque spots of
“ barques sur la plage ” by Alexandre marcette Flanders, and his Canal
de Bruges, Chevaux de
this year, their absence was atoned for by the fact halage, and his Pont ought not to be forgotten,
that one saw a quite remarkable series of invited Another excellent painter of Flanders whose talent
works.
The drawings shown by Madame
Lucien Simon were quite a revelation
to me. This lady’s work, which does
not in any way appear to be influenced
by her husband’s talent, is, in its warm
colouring and by reason of the subjects
chosen, comparable with the paintings
of the Primitives and of the English
Pre-Raphaelites. This criticism is par-
ticularly applicable to her mystical
Rosier, which brings back memories of
Rossetti. Another of the artists who
were invited to contribute to the Exhi-
bition was M. Jeanes, whose remark-
able work is well known. His eight
water-colours attracted attention by
their exceeding variety—they included
several mountainous landscapes—par-
ticularly L' A rib erg and the Pelmo sous
un nuage, both of seductive grandeur,
and also other pictures of a quieter
character, such as the Vieux Pont.
M. Bigot, who has made a name for
himself with his sculptures in wood,
showed some water-colours, executed
with much success, rather in the Jap-
anese manner, in which were depicted
pheasants, owls, owlets, a head of a
turkey, a hawk and a buzzard. One of
these we here reproduce.
3i4
“ COURSE DE TAUREAUX
BY GASTON LA TOUCHE