DOI Heft:
No. 228 (March 1912)
DOI Artikel:Honoré, Léopold: An Alsatian landscpae painter: Henri Zuber
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.21156#0134
Henri Zuber
STUDY OF OLIVE-TREES
trained vision enabled him to endue each ot his
drawings with the atmosphere and character peculiar
to the subject. He was equally successful with
diverse subjects, whether it was Venice, the shores
of the Lake of Como, Antibes, Versailles, among
the Jura Mountains, or simply an evening effect in
the Luxembourg Gardens, at the Pont Royal, or
the Place de la Concorde, where he executed La
Debacle of the Boivin collection, which remains a
masterpeice of water-colour drawing by reason of
its nobility of conception, its powerful emotional
qualities, and its harmony and fidelity to nature.
So Venice he makes captivating even under a stormy
sky, the Cdte d’Azur with the silver grey of its
olives, Versailles with all its souvenirs of past mag-
nificence, the Lake of Como with its pure mountain
air, the Jura with their sombre poesy, Avignon with
its old ramparts and palace of the Popes, his
beloved Alsace, Paris under most picturesque
aspects, such as La Fontaine de P Observatoire, or
those corners of the Luxembourg Gardens or the
Place St.-Sulpice; London, with its Blackfriars
Bridge, a superb water-colour offered to the Luxem-
bourg by M. Schweisguth.
One still remembers the successful exhibition of
114
BY HENRI ZUBER
Zuber’s studies and his drawings tinted with water-
colour or pastel which was held at the Georges
Petit Galleries in 1907. The display aroused
memories of all those great artists of a bygone day
who gave to their admirable landscape something
of their own talent and individuality; it assumed,
moreover, the proportions of an important artistic
event and became a revelation to such as had as
yet no fixed opinion of Zuber’s work.
Under whatever guise he saw her, nature never
left him indifferent, but there was one hour of the
day which was particularly dear to him—the hour
when all seems calm and pensive, when the mystic
poetry of twilight steals down over everything,
when the mind becomes tranquil and the heart
is softly touched with melancholy, an hour which
none better than Henri Zuber knew how to
render.
Henri Zuber’s art, at once so delicate, so subtle,
and so personal, places this painter among the
masters, such as Corot, Daubigny, and Cazin, who
infused into their art something of their own very
soul, that indefinable quality, call it genius or
what you will, that makes of a simple picture a
masterpiece. L. H.
STUDY OF OLIVE-TREES
trained vision enabled him to endue each ot his
drawings with the atmosphere and character peculiar
to the subject. He was equally successful with
diverse subjects, whether it was Venice, the shores
of the Lake of Como, Antibes, Versailles, among
the Jura Mountains, or simply an evening effect in
the Luxembourg Gardens, at the Pont Royal, or
the Place de la Concorde, where he executed La
Debacle of the Boivin collection, which remains a
masterpeice of water-colour drawing by reason of
its nobility of conception, its powerful emotional
qualities, and its harmony and fidelity to nature.
So Venice he makes captivating even under a stormy
sky, the Cdte d’Azur with the silver grey of its
olives, Versailles with all its souvenirs of past mag-
nificence, the Lake of Como with its pure mountain
air, the Jura with their sombre poesy, Avignon with
its old ramparts and palace of the Popes, his
beloved Alsace, Paris under most picturesque
aspects, such as La Fontaine de P Observatoire, or
those corners of the Luxembourg Gardens or the
Place St.-Sulpice; London, with its Blackfriars
Bridge, a superb water-colour offered to the Luxem-
bourg by M. Schweisguth.
One still remembers the successful exhibition of
114
BY HENRI ZUBER
Zuber’s studies and his drawings tinted with water-
colour or pastel which was held at the Georges
Petit Galleries in 1907. The display aroused
memories of all those great artists of a bygone day
who gave to their admirable landscape something
of their own talent and individuality; it assumed,
moreover, the proportions of an important artistic
event and became a revelation to such as had as
yet no fixed opinion of Zuber’s work.
Under whatever guise he saw her, nature never
left him indifferent, but there was one hour of the
day which was particularly dear to him—the hour
when all seems calm and pensive, when the mystic
poetry of twilight steals down over everything,
when the mind becomes tranquil and the heart
is softly touched with melancholy, an hour which
none better than Henri Zuber knew how to
render.
Henri Zuber’s art, at once so delicate, so subtle,
and so personal, places this painter among the
masters, such as Corot, Daubigny, and Cazin, who
infused into their art something of their own very
soul, that indefinable quality, call it genius or
what you will, that makes of a simple picture a
masterpiece. L. H.