DOI Heft:
No. 228 (March 1912)
DOI Artikel:Studio-talk
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.21156#0180
Studio-Talk
WOOD INTARSIA PANEL BY OSCAR HABERER
mastery over his technique and could look forward
to the future with confidence.
Marussig’s innate predilection is for painting
scenes of the twilight and night, but in following
this bent he does not, as so many other painters of
nocturnes do, leave everything uniformly shrouded
in a confused mass of dark brown. On the con-
trary, his drawing is uncommonly precise, although
with him the chief concern is always to achieve a
pictorial quality as the final result, in which he is
greatly aided by the adroit use of complementary
colours. Marussig has thus in a way become a
specialist in the painting of Venetian summer
night effects—those nights which are never for-
gotten by those who have experienced them. An
extremely sensitive eye is needed to distinguish the
subtle gradations of tone and differences of colour
which these nocturnal scenes present and to render
them on canvas, and among all the painters ot
Venice, Marussig has perhaps been as successful as
any in this direction.
Marussig’s talent has, however, not been con-
fined to painting the delicate harmonies of the
President of the Societe Nationale
(New Salon). The eminent artist is
at present at work upon a vast decora-
tive painting commissioned by the City
of Paris for the Petit Palais. H. F.
VENICE.—Guido Marussig,
though still young in years
is one of those whom nature
has endowed with the
faculty of discerning early in life the
path they are best qualified to pursue
without groping in uncertainty from
year to year. Born at Trieste in 1885
he was able when fifteen years of age,
thanks to a small stipend, to come to
Venice and study under Prof. Ettore
Tito, the distinguished painter whose
works are so well known to readers of
this magazine, and whose signal merit
as a teacher is that he leaves his
students free to develop along their
own lines. Marussig came before the
public first of all in Rome and Verona,
but won his spurs at the International
Exhibition held in this city in 1905,
when he had acquired a thorough
WOOD INTARSIA PANEL BY OSCAR HABERER
(See Berlin Studio-Talk, d. 157)
r59
WOOD INTARSIA PANEL BY OSCAR HABERER
mastery over his technique and could look forward
to the future with confidence.
Marussig’s innate predilection is for painting
scenes of the twilight and night, but in following
this bent he does not, as so many other painters of
nocturnes do, leave everything uniformly shrouded
in a confused mass of dark brown. On the con-
trary, his drawing is uncommonly precise, although
with him the chief concern is always to achieve a
pictorial quality as the final result, in which he is
greatly aided by the adroit use of complementary
colours. Marussig has thus in a way become a
specialist in the painting of Venetian summer
night effects—those nights which are never for-
gotten by those who have experienced them. An
extremely sensitive eye is needed to distinguish the
subtle gradations of tone and differences of colour
which these nocturnal scenes present and to render
them on canvas, and among all the painters ot
Venice, Marussig has perhaps been as successful as
any in this direction.
Marussig’s talent has, however, not been con-
fined to painting the delicate harmonies of the
President of the Societe Nationale
(New Salon). The eminent artist is
at present at work upon a vast decora-
tive painting commissioned by the City
of Paris for the Petit Palais. H. F.
VENICE.—Guido Marussig,
though still young in years
is one of those whom nature
has endowed with the
faculty of discerning early in life the
path they are best qualified to pursue
without groping in uncertainty from
year to year. Born at Trieste in 1885
he was able when fifteen years of age,
thanks to a small stipend, to come to
Venice and study under Prof. Ettore
Tito, the distinguished painter whose
works are so well known to readers of
this magazine, and whose signal merit
as a teacher is that he leaves his
students free to develop along their
own lines. Marussig came before the
public first of all in Rome and Verona,
but won his spurs at the International
Exhibition held in this city in 1905,
when he had acquired a thorough
WOOD INTARSIA PANEL BY OSCAR HABERER
(See Berlin Studio-Talk, d. 157)
r59