Studio: international art (59.1913)

Studio-Talk

large white gallery of the Secession and the series
of exquisite little salles arranged by the architect
KotSra of Prague, the two rooms set apart for
Belgian art are generally regarded as forming
the clous of the exhibition. The organisation
of the Belgian section was entrusted to M. P.
Lambotte, Director of the Ministry of Fine Arts,
and he has indeed done wonders. The carefully
selected pictures are admirably hung against a rich
old-gold tapestry, and the velvet with a pattern
of deep red roses of which the portieres and covers
of the divans are made, together with the dark blue
carpets, compose a very becoming setting for the
Belgian works. _

The first room contains works by Leon Frederic,
whose Le retour de la procession we illustrate,
Albert Baertsoen, Fernand Khnopff, Rassenfosse,
Donnay, H. Cassiers,

Delaunois, Jefferys, De
Sadeleer, and Mile. A.

Ronner, as well as portraits
by J. de Lalaing, Cluyse-
naar, De la Hoese, and
Hermans. In the second
room are hung pictures by
E. Claus, F. Hens, T. van
Rysselberghe, E. Laer-
mans, Smeers, Wytsman,

Oleffe, Marcette, and also
a very fine nude by Ciam-
berlani. The etchings and
engravings by H. Meunier,

Van der Loo, and Lan-
gaskens, inserted in certain
panels, make a very good
effect. Sculpture is repre-
sented in particular by an
important contribution
from the great Walloon
sculptor Victor Rousseau,
comprising his exquisite
bust of the Princesse
Marie-Jose, which sve re-
produce, and busts of the
King and Queen of the
Belgians which have never
before been exhibited.

Works by G. Minne, P.

Dubois, Braecke, Samuel,

Huygelen, Van Biesbroeck,
and G. Charlier are taste-
fully displayed here and
there. This comprehensive

ensemble gives a very just and at the same time a
very favourable idea of Belgian art, and it evinces
once again the ability and excellent taste of M. P.
Lambotte. F. K.

MILAN.—Mose Bianchi, who must be
reckoned as one of the most important
of modern Italian artists, though one
of the least well known outside his own
country, was by nature intended to be a painter,
and would indeed have instinctively become one
even had there never existed such a place as the
Academie des Beaux-Arts of Milan, where, side by
side with Giuseppe Bertini, he studied painting.
Born at Monza near Milan, on October 13, 1840,
he showed from his tenderest years a decided
aptitude for painting. His father strongly urged
him to enter upon a business career as offering a

“LE RETOUR DE LA PROCESSION” by LlION FRlfDJSRIC

317