DOI Heft:
Nr. 210 (September 1910)
DOI Artikel:Studio-talk
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.20970#0351
Studio-Talk
“THE TROUBLES OF A BRIDESMAID”
something, not what they speak about, which
engrosses their interest.
s
Anyone viewing in turn Fischer’s various sets
might well imagine them the work of so many
different men# His interest in artistic oratory ex-
tends to a keen appreciation of its fundamental
principles ; beyond that, it does not fascinate him.
He will never, when handling the etcher’s point,
violate the rules of true style ; but he does not
pursue the subject to the extent of developing a
carefully-filed finish, which reflects at once an
artistic sagacity and the peculiar tenor of its
author’s character. His
main interest lies in the
direction of offering in
his etching a forceful pre- k
sentation of the impres-
sion which nature ha.s
made upon him. To a
creative genius of this class
every one of the various
phases of nature has its
proper character, and as
the poet tries to deli-
neate human character
so as to make its work-
ings plain to the rest of
us, so this artist tries
to unfold the character
of mountain and meadow,
of sea and city to us. It
is natural for an artist like
Fischer to vary to a cer- “in the library’
TOCKHOLM. —
It is only two
years since Carl
by carl larsson Larsson held his
last large exhibition in
Stockholm, and now this indefatigable worker has
already had a new and most interesting show of
work done during this short period. This exhibi-
tion, held in the Hallin Konsthandel galleries, only
contained easel pictures in oil and water-colours and
some etchings, nearly all depicting his happy family
life in his charming home at Sundborn, in the heart
of that quaint, old-fashioned province, Dalarne.
Of the 60 pictures shown, 35 belonged to one
series called “ On the sunny side,” all of them
water-colours painted with Carl Larsson’s usual
mastery, but in style quite different from his
earlier ones, which, at least during the last ten or
BY CARL LARSSON
tain extent]^his technical
means, to adapt them to
the character of whatever
nature-subject he is upon
the point of presenting.
Thus it is clear that
when grandeur has been
the chord touched in him,
he must choose one
quality of line to com-
municate the impression,
and another when placid
comeliness has given the
cue. H. W. S.
“THE TROUBLES OF A BRIDESMAID”
something, not what they speak about, which
engrosses their interest.
s
Anyone viewing in turn Fischer’s various sets
might well imagine them the work of so many
different men# His interest in artistic oratory ex-
tends to a keen appreciation of its fundamental
principles ; beyond that, it does not fascinate him.
He will never, when handling the etcher’s point,
violate the rules of true style ; but he does not
pursue the subject to the extent of developing a
carefully-filed finish, which reflects at once an
artistic sagacity and the peculiar tenor of its
author’s character. His
main interest lies in the
direction of offering in
his etching a forceful pre- k
sentation of the impres-
sion which nature ha.s
made upon him. To a
creative genius of this class
every one of the various
phases of nature has its
proper character, and as
the poet tries to deli-
neate human character
so as to make its work-
ings plain to the rest of
us, so this artist tries
to unfold the character
of mountain and meadow,
of sea and city to us. It
is natural for an artist like
Fischer to vary to a cer- “in the library’
TOCKHOLM. —
It is only two
years since Carl
by carl larsson Larsson held his
last large exhibition in
Stockholm, and now this indefatigable worker has
already had a new and most interesting show of
work done during this short period. This exhibi-
tion, held in the Hallin Konsthandel galleries, only
contained easel pictures in oil and water-colours and
some etchings, nearly all depicting his happy family
life in his charming home at Sundborn, in the heart
of that quaint, old-fashioned province, Dalarne.
Of the 60 pictures shown, 35 belonged to one
series called “ On the sunny side,” all of them
water-colours painted with Carl Larsson’s usual
mastery, but in style quite different from his
earlier ones, which, at least during the last ten or
BY CARL LARSSON
tain extent]^his technical
means, to adapt them to
the character of whatever
nature-subject he is upon
the point of presenting.
Thus it is clear that
when grandeur has been
the chord touched in him,
he must choose one
quality of line to com-
municate the impression,
and another when placid
comeliness has given the
cue. H. W. S.