DOI Heft:
No. 229 (May 1912)
DOI Artikel:Studio-talk
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.21156#0341
Studio-Talk
it happened even that results both unexpected and
unwelcome accrued. While some saw in the life of
the atelier nothing but a pretext for eccentricity,
for puerile frivolities, or for more or less licentious
libertinism, others on the contrary conceived the
artist’s career under a more noble and elevated
aspect. Among these latter, how many have there
not been who, bowing to the wishes and before
the prejudices of parents over-obsessed by the ex-
ploits of the heroes of “La Vie de Boheme,” have
resigned themselves to vocations which their
aspirations and tastes found entirely uncongenial!
Paul Madeline was one of those compelled to
suffer in this way; but when at length, having
freed himself from this ostracism and the state of
mind engendered by Miirger, he was permitted to
follow his artistic dream, he advanced with giant
strides, and in consequence success crowned his
efforts and his tenacity. Exhibiting first at the
Salon des Independants, and then at the Artistes
Frangais, where he received an award, he has since
1910 been a member of the Societe Nationale des
Beaux-Arts, and is to-day one of the most esteemed
members of the Societe Moderne at the Durand-
Ruel Galleries. Among other museums and
collections the Musee des Beaux-Arts of the Ville
de Paris at the Petit Palais des Champs-Elysees
possesses examples of his work.
At a one-man show of his pictures held some
little time back at the Petit Galleries, Madeline’s
brilliant achievement was thrown up in bold
relief. The exhibition was a spontaneous mani-
festation of the sentiments of a sincere and true
landscapist. Paul Madeline is never the painter
of a formula more or less successfully adopted ; he
remains always the faithful interpreter of nature,
and his landscapes and seascapes are sane impres-
sions vividly felt, and transcribed alertly and boldly.
There is no affectation in the effects he achieves,
which are naturally successful because the artist
knows how to see, to observe, and with art to
depict a beautiful scene. L. H.
HAMBURG.—The modern movement
in the arts and crafts of Germany
has a vigorous disciple in this city in
Herr Gust. Doren. A Swede by birth,
he migrated in his early years to the mainland, and
after studying in Copenhagen, Paris, and several
it happened even that results both unexpected and
unwelcome accrued. While some saw in the life of
the atelier nothing but a pretext for eccentricity,
for puerile frivolities, or for more or less licentious
libertinism, others on the contrary conceived the
artist’s career under a more noble and elevated
aspect. Among these latter, how many have there
not been who, bowing to the wishes and before
the prejudices of parents over-obsessed by the ex-
ploits of the heroes of “La Vie de Boheme,” have
resigned themselves to vocations which their
aspirations and tastes found entirely uncongenial!
Paul Madeline was one of those compelled to
suffer in this way; but when at length, having
freed himself from this ostracism and the state of
mind engendered by Miirger, he was permitted to
follow his artistic dream, he advanced with giant
strides, and in consequence success crowned his
efforts and his tenacity. Exhibiting first at the
Salon des Independants, and then at the Artistes
Frangais, where he received an award, he has since
1910 been a member of the Societe Nationale des
Beaux-Arts, and is to-day one of the most esteemed
members of the Societe Moderne at the Durand-
Ruel Galleries. Among other museums and
collections the Musee des Beaux-Arts of the Ville
de Paris at the Petit Palais des Champs-Elysees
possesses examples of his work.
At a one-man show of his pictures held some
little time back at the Petit Galleries, Madeline’s
brilliant achievement was thrown up in bold
relief. The exhibition was a spontaneous mani-
festation of the sentiments of a sincere and true
landscapist. Paul Madeline is never the painter
of a formula more or less successfully adopted ; he
remains always the faithful interpreter of nature,
and his landscapes and seascapes are sane impres-
sions vividly felt, and transcribed alertly and boldly.
There is no affectation in the effects he achieves,
which are naturally successful because the artist
knows how to see, to observe, and with art to
depict a beautiful scene. L. H.
HAMBURG.—The modern movement
in the arts and crafts of Germany
has a vigorous disciple in this city in
Herr Gust. Doren. A Swede by birth,
he migrated in his early years to the mainland, and
after studying in Copenhagen, Paris, and several