DOI Heft:
No. 227 (February 1912)
DOI Artikel:Frantz, Henri: A painter of the sea: Eugéne Boudin
DOI Artikel:Levetus, A. S.: Arts and crafts at the Austrian museum for art and industry, Vienna
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.21156#0048
Arts and Crafts at the Austrian Museum, Vienna
of which he abandoned before they were com-
pleted. But once his definite choice was made it
only took him a few hours to brush in his finest
paintings; and despite this extraordinary facility
there is never anything monotonous about his works.
Whenever a collective exhibition of his works has
been held, Boudin has always attracted one by his
exceeding variety, while yet retaining in even the
least of his compositions his personal qualities as
a colourist and the secret of certain silvery greys
which are to be found in his seas and skies.
When we desire to apportion to Boudin the
place he occupies in the history of French paint-
ing, we must certainly not separate him from
Jongkind and Lepine. An error that is frequently
made is that of confusing Boudin with the Im-
pressionist movement. He must rather be re-
garded, like Corot, as a kind of precursor of Im-
pressionism. Like Corot, Boudin endeavoured to
avoid the opacity of his predecessors’ palette,
and was preoccupied before all else with the
rendering of light; he introduced into his work
transparency and delicacy in the shadows, but in
technique he can in no sense be likened to Sisley
or to Claude Monet.
With Lepine and Jongkind, Boudin forms a
kind of trilogy of independent artists, all moved
by the same craving for the picturesque and all
earnestly seeking after truth. When some five
years ago a hundred works by these three masters
were collectively exhibited in the Petit Galleries,
all visitors to the show were struck very forcibly by
their artistic kinship. Of the trio Jongkind is
incontestably the most powerful and the most
brilliant colourist, and Lepine the most delicate, but
Boudin appeals most strongly to our admiration
by his exceeding variety, by his sensibility, and
by his attitude of respectful fidelity before the
spectacles of nature and of life. H. F.
Arts and crafts at the
AUSTRIAN MUSEUM FOR
ART AND INDUSTRY,VIENNA.
The now venerable Archduke Rainer was
present at the opening of the great exhibition of
1851 in London, and later he again visited the
Metropolis to attend the inauguration of the
Crystal Palace Exhibition in 1862. The then
youthful Archduke had already begun to show
that fine appreciation and understanding for art
SMOKING- AND CARD-ROOM
28
DESIGNED BY KARL WITZMANN, EXECUTED BY LUDWIG SCHMIDT
of which he abandoned before they were com-
pleted. But once his definite choice was made it
only took him a few hours to brush in his finest
paintings; and despite this extraordinary facility
there is never anything monotonous about his works.
Whenever a collective exhibition of his works has
been held, Boudin has always attracted one by his
exceeding variety, while yet retaining in even the
least of his compositions his personal qualities as
a colourist and the secret of certain silvery greys
which are to be found in his seas and skies.
When we desire to apportion to Boudin the
place he occupies in the history of French paint-
ing, we must certainly not separate him from
Jongkind and Lepine. An error that is frequently
made is that of confusing Boudin with the Im-
pressionist movement. He must rather be re-
garded, like Corot, as a kind of precursor of Im-
pressionism. Like Corot, Boudin endeavoured to
avoid the opacity of his predecessors’ palette,
and was preoccupied before all else with the
rendering of light; he introduced into his work
transparency and delicacy in the shadows, but in
technique he can in no sense be likened to Sisley
or to Claude Monet.
With Lepine and Jongkind, Boudin forms a
kind of trilogy of independent artists, all moved
by the same craving for the picturesque and all
earnestly seeking after truth. When some five
years ago a hundred works by these three masters
were collectively exhibited in the Petit Galleries,
all visitors to the show were struck very forcibly by
their artistic kinship. Of the trio Jongkind is
incontestably the most powerful and the most
brilliant colourist, and Lepine the most delicate, but
Boudin appeals most strongly to our admiration
by his exceeding variety, by his sensibility, and
by his attitude of respectful fidelity before the
spectacles of nature and of life. H. F.
Arts and crafts at the
AUSTRIAN MUSEUM FOR
ART AND INDUSTRY,VIENNA.
The now venerable Archduke Rainer was
present at the opening of the great exhibition of
1851 in London, and later he again visited the
Metropolis to attend the inauguration of the
Crystal Palace Exhibition in 1862. The then
youthful Archduke had already begun to show
that fine appreciation and understanding for art
SMOKING- AND CARD-ROOM
28
DESIGNED BY KARL WITZMANN, EXECUTED BY LUDWIG SCHMIDT