DOI Heft:
No. 218 (May, 1911)
DOI Artikel:Taylor, Ernest Archibald: The American colony of artists in Paris, [1]
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.20972#0298
•' VALLEY OF THE ARQUES "
First and foremost he is a colourist and techni-
cally his work is virile and spontaneous. He sees
with his own eyes, and what he sees he interprets
with a strong belief. The Normandy Farm here
reproduced in colour, the Procession in Brittany,
and the Thunderstorm and Cloud, also illustrated,
indicate the manner of his work some two or three
years back. The Valley of the Arques, one of four
works hung in the present exhibition of the Salon des
Beaux-Arts, shows a surer knowledge of recession
and admirably exemplifies the spacing of greys,
lights, and darks; strong and brilliant in colour,
with predominating reds, greens, yellows, and browns,
and their complementaries rightly emphasised, it
makes a striking picture and is very significant of
the artist's seeking and present-day outlook. It is
in landscape that we may watch for an invigorated
future. Portraits and prominent figure-subjects
have not yet fascinated Oberteuffer, and for this
branch of painting we must look to his wife, from
whom he openly and generously owns he has
learned much that was worth learning.
"276
BY GEORGE OBERTEUFFER
Mrs. Oberteuffer was massi'ere at Julian's Academy
for three years, and in that capacity was able to study
more especially the figure. Her drawings in char-
coal have a quaint strength and charm, and I regret
the too late arrival of a specially representative
example of them for this article. Her colour has
much the same quality as that of her husband,
combined with an uncommon delicacy and subtle-
ness and feeling of reserved strength. Particularly
noticeable is the more than clever handling in
the head of the child in her Femme et enfant, in
which the spontaneity and ripe knowledge which
characterise her painting in general is evident.
She is a prominent member of the Society called
" Quelques " in Paris, and her work has also been
appreciated and bought by the French Government.
In this first article I have tried to avoid my own
dogmatism. All art that is not good evidences itself
—perhaps not soon enough. That which is good
will tell its story for all time, and the various
transitions through which it passes will declare its
worth and ever produce a creative interest. The
First and foremost he is a colourist and techni-
cally his work is virile and spontaneous. He sees
with his own eyes, and what he sees he interprets
with a strong belief. The Normandy Farm here
reproduced in colour, the Procession in Brittany,
and the Thunderstorm and Cloud, also illustrated,
indicate the manner of his work some two or three
years back. The Valley of the Arques, one of four
works hung in the present exhibition of the Salon des
Beaux-Arts, shows a surer knowledge of recession
and admirably exemplifies the spacing of greys,
lights, and darks; strong and brilliant in colour,
with predominating reds, greens, yellows, and browns,
and their complementaries rightly emphasised, it
makes a striking picture and is very significant of
the artist's seeking and present-day outlook. It is
in landscape that we may watch for an invigorated
future. Portraits and prominent figure-subjects
have not yet fascinated Oberteuffer, and for this
branch of painting we must look to his wife, from
whom he openly and generously owns he has
learned much that was worth learning.
"276
BY GEORGE OBERTEUFFER
Mrs. Oberteuffer was massi'ere at Julian's Academy
for three years, and in that capacity was able to study
more especially the figure. Her drawings in char-
coal have a quaint strength and charm, and I regret
the too late arrival of a specially representative
example of them for this article. Her colour has
much the same quality as that of her husband,
combined with an uncommon delicacy and subtle-
ness and feeling of reserved strength. Particularly
noticeable is the more than clever handling in
the head of the child in her Femme et enfant, in
which the spontaneity and ripe knowledge which
characterise her painting in general is evident.
She is a prominent member of the Society called
" Quelques " in Paris, and her work has also been
appreciated and bought by the French Government.
In this first article I have tried to avoid my own
dogmatism. All art that is not good evidences itself
—perhaps not soon enough. That which is good
will tell its story for all time, and the various
transitions through which it passes will declare its
worth and ever produce a creative interest. The