DOI Heft:
No. 223 (October 1911)
DOI Artikel:Frantz, Henri: A great french landscape painter: Jean Charles Cazin
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.21155#0032
Jean Charles Cazin
recording the emotions he experienced in the
presence of nature. Cazin also turned his atten-
tion successfully to ceramic work ; he was much in-
terested in modern decorative art and was one of its
most ardent supporters at the Societe Nationale.
But let us return to the immediate subject of
our article—to his production as a landscape
painter, and endeavour to mark its different
stages. In 1877 Cazin exhibited his Fuite e?i
Egypte, the first in point of time of his pictures
which have religious subjects for their motifs. Let
it be clearly understood that in paintings such as
these the artist has not been concerned with any
literal reconstruction of the scene, but has rather,
while receiving the impressions of certain land-
scapes, allowed his imagination to conjure up
powerful evocations of Biblical incidents, which
are at the same time in their way typical of all
ages, for the group in the Fuite en Egvpte, wending
their way among the dunes at Wimereux, is as
harmoniously placed in this setting as it would be
in its correct landscape of the desert of Palestine.
I would make the same remark concerning the
Voyage de Tobie (1878), the Depart (1879), the
Ismael (18S0), which gained for him a first medal,
and of which we give a reproduction, the Tobie
(i8Si), /uditk (1883), and Agar et Ismael (1883).
This series of paintings comprises the great
cycle of religious works by Cazin, completed by
the inclusion of two paintings entitled JVativite a.r\d
Madeleine au Village. After signing his Agar et
Ismael Jean Charles Cazin devoted himself almost
entirely to pure landscape. I will not attempt
to mention them here in detail, for in so many
cases they are variations of similar themes and we
find such titles as le Moulin, les Dunes, Effet de
Soir constantly recurring. Let us, however, simply
bear in mind the various sources whence he drew
his inspiration. Holland furnished him with the
subjects of numerous studies for water-colours and
for paintir_gs. He had an equally warm affection
for Italy. I do not know whether perhaps some
BY J. C. CAZIN
recording the emotions he experienced in the
presence of nature. Cazin also turned his atten-
tion successfully to ceramic work ; he was much in-
terested in modern decorative art and was one of its
most ardent supporters at the Societe Nationale.
But let us return to the immediate subject of
our article—to his production as a landscape
painter, and endeavour to mark its different
stages. In 1877 Cazin exhibited his Fuite e?i
Egypte, the first in point of time of his pictures
which have religious subjects for their motifs. Let
it be clearly understood that in paintings such as
these the artist has not been concerned with any
literal reconstruction of the scene, but has rather,
while receiving the impressions of certain land-
scapes, allowed his imagination to conjure up
powerful evocations of Biblical incidents, which
are at the same time in their way typical of all
ages, for the group in the Fuite en Egvpte, wending
their way among the dunes at Wimereux, is as
harmoniously placed in this setting as it would be
in its correct landscape of the desert of Palestine.
I would make the same remark concerning the
Voyage de Tobie (1878), the Depart (1879), the
Ismael (18S0), which gained for him a first medal,
and of which we give a reproduction, the Tobie
(i8Si), /uditk (1883), and Agar et Ismael (1883).
This series of paintings comprises the great
cycle of religious works by Cazin, completed by
the inclusion of two paintings entitled JVativite a.r\d
Madeleine au Village. After signing his Agar et
Ismael Jean Charles Cazin devoted himself almost
entirely to pure landscape. I will not attempt
to mention them here in detail, for in so many
cases they are variations of similar themes and we
find such titles as le Moulin, les Dunes, Effet de
Soir constantly recurring. Let us, however, simply
bear in mind the various sources whence he drew
his inspiration. Holland furnished him with the
subjects of numerous studies for water-colours and
for paintir_gs. He had an equally warm affection
for Italy. I do not know whether perhaps some
BY J. C. CAZIN