DOI issue:
No. 255 (July 1914)
DOI article:Studio-talk
DOI Page / Citation link:https://doi.org/10.11588/diglit.21210#0178
Studio- Talk
the first Stages, was also excellent and extremely
interesting.
There was hardly anything more than sketches
by Delacroix to be seen, though some of these were
fascinating enough, merely because of their being
preparatory studies for such famous pictures as The
Dentli of Sardanapulus, The Bride oj Abydos, and
J.a Greet expirant sur les mines de Missolonghi.
Among the Gericaults, The Trumpeter was a
picture of first importance. The dramatic colora-
tion is so vital a feature of this work that no black-
and-white reproduction can do it anything like
justice. One of the principal Renoirs, on the other
hand, Pi/fi/s of the Pans Conservatory of Music,
seems tinted rather than painted, and the drawing
is by far the main feature. It is an early work,
inclining somewhat to Manet, and contrasting
strangely with the luminous, complicated coloration
of Renoir's later style. In At the Piano, Lovers in
a Wood, Portrait of the Countess PourtaHs (owned
by Mr. Rothermundt), the vivid, occasionally some-
what sentimental, colour harmonies easily override
deficiencies in drawing, which catch one's eye,
however, if one sees only a half-tone reproduction
of such canvases. Camille I'issarro and Allied
Sisley were excellently represented by fine, bright
and airy specimens of their delicate, sunny art.
But this was, of course, comparatively easy, for it is
not yet become scarce. H. W. S.
FFLORENCE.—When Impressionism made
I its first appearance in France, its
pioneers were, as all the world knows,
greeted with a storm of derision. After
long and serious struggles their art came to the
front and is to-day fully recognised as the great
acquisition of the last century. With the names of
Manet, Monet, Renoir, Sisley, Degas, Cezanne,
I'issarro, and other champions of the new school,
one often finds two more those of Boldini and
De Nittis, both of them Italians who formed part of
a particular nucleus of Italian artists who expoused
the cause of Impressionism. Boldini and De
Nittis lived chiefly in Paris, and therefore, their work
came to be better known and appreciated than
that of others of their countrymen.
In Italy itself the political struggles which began
in the middle of the nineteenth century absorbed
public attention, and only a few connoisseurs
realised the merits of the forerunners of the modern
the first Stages, was also excellent and extremely
interesting.
There was hardly anything more than sketches
by Delacroix to be seen, though some of these were
fascinating enough, merely because of their being
preparatory studies for such famous pictures as The
Dentli of Sardanapulus, The Bride oj Abydos, and
J.a Greet expirant sur les mines de Missolonghi.
Among the Gericaults, The Trumpeter was a
picture of first importance. The dramatic colora-
tion is so vital a feature of this work that no black-
and-white reproduction can do it anything like
justice. One of the principal Renoirs, on the other
hand, Pi/fi/s of the Pans Conservatory of Music,
seems tinted rather than painted, and the drawing
is by far the main feature. It is an early work,
inclining somewhat to Manet, and contrasting
strangely with the luminous, complicated coloration
of Renoir's later style. In At the Piano, Lovers in
a Wood, Portrait of the Countess PourtaHs (owned
by Mr. Rothermundt), the vivid, occasionally some-
what sentimental, colour harmonies easily override
deficiencies in drawing, which catch one's eye,
however, if one sees only a half-tone reproduction
of such canvases. Camille I'issarro and Allied
Sisley were excellently represented by fine, bright
and airy specimens of their delicate, sunny art.
But this was, of course, comparatively easy, for it is
not yet become scarce. H. W. S.
FFLORENCE.—When Impressionism made
I its first appearance in France, its
pioneers were, as all the world knows,
greeted with a storm of derision. After
long and serious struggles their art came to the
front and is to-day fully recognised as the great
acquisition of the last century. With the names of
Manet, Monet, Renoir, Sisley, Degas, Cezanne,
I'issarro, and other champions of the new school,
one often finds two more those of Boldini and
De Nittis, both of them Italians who formed part of
a particular nucleus of Italian artists who expoused
the cause of Impressionism. Boldini and De
Nittis lived chiefly in Paris, and therefore, their work
came to be better known and appreciated than
that of others of their countrymen.
In Italy itself the political struggles which began
in the middle of the nineteenth century absorbed
public attention, and only a few connoisseurs
realised the merits of the forerunners of the modern