Studio: international art (57.1913)

Studio-Talk

is shown in full canonicals, was painted in a hall
of St. Peter’s Church, Rome, where the Pope
granted him four sittings. The lineaments of the
sitter have been well studied—the artist has brought
into prominence the chief characteristics of the noble
features, the mild expression coupled with profound
seriousness, the look of patient suffering. The
drapery has been judiciously handled and always
with due consideration for the main requirement,
which is to give us a picture of His Holiness as he
really is. A. S. L.

GHENT.—The bust by M. de Beule,
reproduced on page 332, is a fitting
product of this old Flemish city, in
which the spirit of the Middle Ages
still lingers in spite of the ceaseless progress of
modern industrialism.

A MSTERDAM.—The chalk drawing, At
f\ Kortenlioef by Mr. Wysmuller, of which
/ \ a reproduction is given in the form of
JL ik a supplement, is an excellent example
of his interpretation of Dutch landscape in a

medium which he employs with much feeling.
Other examples of his work were included in the
recent Special Number of The Studio entitled
“ Pen, Pencil, and Chalk.”

STOCKHOLM.—Although Stockholm is
one of the loveliest summer-cities of the
world its inhabitants usually desert it at the
end of May or beginning of June, when
all the big theatres close and art exhibitions are
discontinued. From this rule an exception was made
last summer, when our two most important societies
of artists, Konstniirsforbundet and Svenska Konst-
narernas Forening arranged large and interesting
exhibitions, which The Studio has already noticed.
Gustaf Fjiestad, a well-known Swedish artist,
following the example of these societies, held a
“ one-man ” show at the end of the summer in the
galleries of the Swedish Art Union.

Fjiestad’s very original art is not quite unknown
to the art-loving English public, as he sent some of
his best landscapes as well as his tapestries to the
Swedish Exhibition at Brighton in the summer of

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