DOI Heft:
No. 240 (March 1913)
DOI Artikel:Studio-talk
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.21160#0189
Studio- Talk
de Sorolla was depicted sitting on a camp-chair on
the beach at Valencia, clad in a sheer white dress
with the sun beating through a yellow parasol.
Once more she was seen seated with her two
daughters in the garden. Surrounded by rich,
green shrubbery, through which joyous sunshine
filters, the three figures in light attire have here
been very effectively contrasted.
Of the productions for which Sorolla is justly
most famous—children playing on the shore—
some excellent examples were shown. The Two
Sisters, Valencia, donated by Mrs. William S.
North, was a notable performance. In this work
the artist has achieved a dazzling semblance of
molten sunlight. The effect has been obtained
largely through contrast, the radiant glow of light
as it falls upon the older girl being interrupted by
a strong shadow cast from some object beyond the
confines of the picture. The delicate notes of
colour about the smaller child have been charm-
ingly placed. Vying with this work was one
executed with more restraint although no less
vital. This was the painting of a child of eight or
166
nine, seated on a crude bench in a dressing com-
partment by the sea. Her hands are lifted to her
hair. The figure is depicted in cool shadow with
a vivid contrast in the white canvas as it catches
the sunlight. Before the Bath, Valencia, it is
called. Early Morning Sun, Valencia, The Three
Sisters at the Beach, Valencia, and The Wounded
Foot, Valencia, were other works of a similar
provenance ; the last named proved a universal
favourite with both artist and layman. It showed
a little boy and girl crouching at the water's edge
to examine the injured foot of the girl, the little
face of the boy, or all that could be seen of it
under the rude straw hat, suggesting much sympa-
thetic concern for his sister's hurt.
Among the pictures with architectural motives
were some of much interest, such as that entitled
Basin of Charles V, Alcazar, Seville, in which the
quality of yellow sunlight gleaming on yellow
plaster in contrast with the transparent depths of
cool shade, playing within the arched corridor, was
realised with consummate mastery, while in The
Fountain of Philip II, Alcazar, Seville, a contrast
de Sorolla was depicted sitting on a camp-chair on
the beach at Valencia, clad in a sheer white dress
with the sun beating through a yellow parasol.
Once more she was seen seated with her two
daughters in the garden. Surrounded by rich,
green shrubbery, through which joyous sunshine
filters, the three figures in light attire have here
been very effectively contrasted.
Of the productions for which Sorolla is justly
most famous—children playing on the shore—
some excellent examples were shown. The Two
Sisters, Valencia, donated by Mrs. William S.
North, was a notable performance. In this work
the artist has achieved a dazzling semblance of
molten sunlight. The effect has been obtained
largely through contrast, the radiant glow of light
as it falls upon the older girl being interrupted by
a strong shadow cast from some object beyond the
confines of the picture. The delicate notes of
colour about the smaller child have been charm-
ingly placed. Vying with this work was one
executed with more restraint although no less
vital. This was the painting of a child of eight or
166
nine, seated on a crude bench in a dressing com-
partment by the sea. Her hands are lifted to her
hair. The figure is depicted in cool shadow with
a vivid contrast in the white canvas as it catches
the sunlight. Before the Bath, Valencia, it is
called. Early Morning Sun, Valencia, The Three
Sisters at the Beach, Valencia, and The Wounded
Foot, Valencia, were other works of a similar
provenance ; the last named proved a universal
favourite with both artist and layman. It showed
a little boy and girl crouching at the water's edge
to examine the injured foot of the girl, the little
face of the boy, or all that could be seen of it
under the rude straw hat, suggesting much sympa-
thetic concern for his sister's hurt.
Among the pictures with architectural motives
were some of much interest, such as that entitled
Basin of Charles V, Alcazar, Seville, in which the
quality of yellow sunlight gleaming on yellow
plaster in contrast with the transparent depths of
cool shade, playing within the arched corridor, was
realised with consummate mastery, while in The
Fountain of Philip II, Alcazar, Seville, a contrast