DOI Heft:
No. 235 (October 1912)
DOI Artikel:Studio-talk
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.21158#0088
Studio-Talk
Ramsay’s poignant portrait, which tells its own
tale of spiritual suffering. In the engraving by
Dr. Martin, here reproduced, Rousseau appears,
as in all Ramsay’s portraits, en buste, wearing the
Armenian cap and cloak. There was also another
portrait of the sage, the teacher of the simple life,
tha promeneur solitaire with the bunch of periwinkles
in his hand, that portrait by Mayer which the
Societe J. J. Rousseau has taken for its device.
Special mention deserves to be made of M.
Courvoisier’s highly interesting print representing
Rousseau, the youth, taking leave of his friend
Bernard and of his native city, also of M. Van
Muyden’s admirable “ sanguine ” after Mayer.
The exhibition was altogether a memorable event.
R. Mobbs.
VENICE.—How many men living in these
turbulent times owe what peace of mind
they enjoy to the high mountains!
These mighty eternal monuments of
nature, towering heavenwards high above the haunts
of man, shed around them an air of dignity and
calm which never fails to leave a deep impress on
the minds of those susceptible to the majesty of
nature, filling them with a sense of the insignificance
of man and his works. True enough, of the
thousands who nowadays, when “funiculars” and
BY GIUSEPPE CAROZZI
HEAD OF ROUSSEAU IX POLYCHROME PLASTER BY PIOUDON
(In the collection of Prof . Francois, Geneva.—Photo
Boissonas )
Rousseau preferred was a pastel by La Tour,
probably executed in 1764, and in which the
philosopher is seen in American costume. La Tour
executed several portraits
in pastel of Rousseau, one
of the most brilliant and
striking being that in the
Geneva Museum in which
he is represented young
and smiling, and which,
according to M. de
Girardin, is “ d’une grande
verite.” The exhibition
was peculiarly fortunate in
having this, together with
reproductions of replicas
of La Tour’s pastel at St.
Quentin’s Museum and an
admirable collection of
engravings after La Tour,
Ramsay, and Houdon, by
Littret, Catbelin, Ficquet,
St. Aubin, Dr. Martin,
Nochez, Kruell, Marillier,
Langlois. The name of
Ramsay reminds us of
Rousseau’s sojourn in Eng-
land. Numerous are the
engravings inspired by “ottobre, savoia”
66
Ramsay’s poignant portrait, which tells its own
tale of spiritual suffering. In the engraving by
Dr. Martin, here reproduced, Rousseau appears,
as in all Ramsay’s portraits, en buste, wearing the
Armenian cap and cloak. There was also another
portrait of the sage, the teacher of the simple life,
tha promeneur solitaire with the bunch of periwinkles
in his hand, that portrait by Mayer which the
Societe J. J. Rousseau has taken for its device.
Special mention deserves to be made of M.
Courvoisier’s highly interesting print representing
Rousseau, the youth, taking leave of his friend
Bernard and of his native city, also of M. Van
Muyden’s admirable “ sanguine ” after Mayer.
The exhibition was altogether a memorable event.
R. Mobbs.
VENICE.—How many men living in these
turbulent times owe what peace of mind
they enjoy to the high mountains!
These mighty eternal monuments of
nature, towering heavenwards high above the haunts
of man, shed around them an air of dignity and
calm which never fails to leave a deep impress on
the minds of those susceptible to the majesty of
nature, filling them with a sense of the insignificance
of man and his works. True enough, of the
thousands who nowadays, when “funiculars” and
BY GIUSEPPE CAROZZI
HEAD OF ROUSSEAU IX POLYCHROME PLASTER BY PIOUDON
(In the collection of Prof . Francois, Geneva.—Photo
Boissonas )
Rousseau preferred was a pastel by La Tour,
probably executed in 1764, and in which the
philosopher is seen in American costume. La Tour
executed several portraits
in pastel of Rousseau, one
of the most brilliant and
striking being that in the
Geneva Museum in which
he is represented young
and smiling, and which,
according to M. de
Girardin, is “ d’une grande
verite.” The exhibition
was peculiarly fortunate in
having this, together with
reproductions of replicas
of La Tour’s pastel at St.
Quentin’s Museum and an
admirable collection of
engravings after La Tour,
Ramsay, and Houdon, by
Littret, Catbelin, Ficquet,
St. Aubin, Dr. Martin,
Nochez, Kruell, Marillier,
Langlois. The name of
Ramsay reminds us of
Rousseau’s sojourn in Eng-
land. Numerous are the
engravings inspired by “ottobre, savoia”
66