DOI Heft:
No. 225 (December 1911)
DOI Artikel:Studio-talk
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.21155#0263
Studio- Talk
Roger de la Pasture (Van
der Weyden), with Gossart
de Maubeuge, Patenier,
Bles. In one room, contain-
ing glass cases filled with
examples of pottery of
Andenne and of Tournai,
was hung the Toilette by
Watteau (from the Arenberg
Collection) and the Nid de
Tourterelles by Pater, lent by
the Musee de Valenciennes.
Of artists of the nineteenth
century, round Navez (who
was born at Charleroi) were
grouped Gallait, Wiertz,
Degroux, Fournois, Rops,
Boulenger, Baron, and
Hennebicq.
••JEUNBSSe" BY PIERRE PAULUS _
If the exhibition of ancient
one was enabled to see how much more eloquent art was more specially Walloon in character than
and expressive is the work of Constantin Meunier was that of contemporary work—by far the best
when viewed amid surroundings such as it had in ensemble, however, thisj/ear—nevertheless a great
the Industrial sections at Charleroi. deal of space was reserved to work which was
_ Walloon either in authorship or in subject, in order
Elsewhere in the exhibition the sculptures, that as far as possible the indigenous character of
whether in stone, metal or wood, were displayed in this artistic manifestation should be maintained,
galleries hung round with pictures, and the name
of some great master, bestowed as title to the room,
fixed more definitely the exact character of a period
or the precise significance of a certain phase of art.
Constantin Meunier represented, so to speak, the
pulsating heart of the exhibition ; his salle formed
the axis of all the others and seemed to express the
essential and living soul of the country in its double
characteristics of art and industry. I doubt whether
his work has ever before been seen to such advantage
or exhibited in a manner to so emphatically accen-
tuate its intimate relationship with the humanity
whence this art is sprung. A single room seemed,
however, disproportionate to the needs in his case,
and so we found works by Meunier displayed
throughout the entire nave of the Machinery Hall.
His Monument au Travail stood out from a back-
ground of furnaces, amidst the rumbling of
machinery and of vibrating engines with wheels
rapidly revolving close to the passing crowds ; it
alone stood immovable and eternal as a symbol.
In ten different picture galleries the ancient art
of Wallonie was represented by chosen works by
the great masters, in the first rank of whom was
' HAUTS FOUKNEAUX BY PIERRE PAULUS
241
Roger de la Pasture (Van
der Weyden), with Gossart
de Maubeuge, Patenier,
Bles. In one room, contain-
ing glass cases filled with
examples of pottery of
Andenne and of Tournai,
was hung the Toilette by
Watteau (from the Arenberg
Collection) and the Nid de
Tourterelles by Pater, lent by
the Musee de Valenciennes.
Of artists of the nineteenth
century, round Navez (who
was born at Charleroi) were
grouped Gallait, Wiertz,
Degroux, Fournois, Rops,
Boulenger, Baron, and
Hennebicq.
••JEUNBSSe" BY PIERRE PAULUS _
If the exhibition of ancient
one was enabled to see how much more eloquent art was more specially Walloon in character than
and expressive is the work of Constantin Meunier was that of contemporary work—by far the best
when viewed amid surroundings such as it had in ensemble, however, thisj/ear—nevertheless a great
the Industrial sections at Charleroi. deal of space was reserved to work which was
_ Walloon either in authorship or in subject, in order
Elsewhere in the exhibition the sculptures, that as far as possible the indigenous character of
whether in stone, metal or wood, were displayed in this artistic manifestation should be maintained,
galleries hung round with pictures, and the name
of some great master, bestowed as title to the room,
fixed more definitely the exact character of a period
or the precise significance of a certain phase of art.
Constantin Meunier represented, so to speak, the
pulsating heart of the exhibition ; his salle formed
the axis of all the others and seemed to express the
essential and living soul of the country in its double
characteristics of art and industry. I doubt whether
his work has ever before been seen to such advantage
or exhibited in a manner to so emphatically accen-
tuate its intimate relationship with the humanity
whence this art is sprung. A single room seemed,
however, disproportionate to the needs in his case,
and so we found works by Meunier displayed
throughout the entire nave of the Machinery Hall.
His Monument au Travail stood out from a back-
ground of furnaces, amidst the rumbling of
machinery and of vibrating engines with wheels
rapidly revolving close to the passing crowds ; it
alone stood immovable and eternal as a symbol.
In ten different picture galleries the ancient art
of Wallonie was represented by chosen works by
the great masters, in the first rank of whom was
' HAUTS FOUKNEAUX BY PIERRE PAULUS
241