DOI issue:
No. 256 (August 1914)
DOI article:Studio-talk
DOI Page / Citation link:https://doi.org/10.11588/diglit.21210#0268
Studio- Talk
Vladimir on the last day of April ; and it is most
appropriate that Kustodieff's admirable portrait of
this munificent patron of Russian modern art
should occupy the centre of the large room. The
Pavilion itself is attractive with its little balcony over-
looking the lagoons. The long and terrible winters
of Russia, not without their own beauty, find
expression here in the snow scenes of Bialinski and
Stalitza ; and her peasant life in pictures by
Butchkuri, Kulikoff, Fechin (a kind of Brangwyn
in Russian art), riolesnikoff and Saidenberg.
Figure-subjects of interest arc The Green Dress of
Nicolai Kusnetsoff, the Salome, decoratively con-
ceived, by Sureniantz, and the wonderful study of
an Abbess by Kustodieff, which comes from the
Museum of Fine Arts at St. Petersburg.
Briefly glancing at the Pavilion of Hungary with
the paintings, strong in key, of Csok and Ferenczy
and that of Belgium, where Van Rysselberghe, with
his luminous nudes, fills all one side of the large
room, with the weird art of fames Ensor to face
him, and where also there is some excellent sculp-
ture by Victor Rousseau and Wouters and an
interesting series of medals by Armand Bonnetain,
we come to the Italians and other nations whose
contributions are shown in the great central build-
ing. Here, in the cupola and central salon, we
have the1 decoration, light in key and brilliant in
treatment, of Galileo Chini, whose work in Siam,
where he was commissioned to decorate the throne-
room of the Royal Palace, we shall find later in the
room set apart for his work in Sala 25 ; and
around this central hall are the sculptures, monu
mental in their archaic severity of technieiue, of
Ivan Mestrovic, the Croatian sculptor.
In one of the rooms grouped around the central
hall we find a most interesting exhibition of the art
of Mermen Anglada. There are seventeen of his
paintings, all single figures, all posed more or less
conventionally, all in rich costume, and most of
them Spanish in character. If we try to analyse
their attraction we shall find it in the extraordinary
charm of colour, as distinctive a note here as in the
art of [nnocenti, and as strangely attractive. The
Vladimir on the last day of April ; and it is most
appropriate that Kustodieff's admirable portrait of
this munificent patron of Russian modern art
should occupy the centre of the large room. The
Pavilion itself is attractive with its little balcony over-
looking the lagoons. The long and terrible winters
of Russia, not without their own beauty, find
expression here in the snow scenes of Bialinski and
Stalitza ; and her peasant life in pictures by
Butchkuri, Kulikoff, Fechin (a kind of Brangwyn
in Russian art), riolesnikoff and Saidenberg.
Figure-subjects of interest arc The Green Dress of
Nicolai Kusnetsoff, the Salome, decoratively con-
ceived, by Sureniantz, and the wonderful study of
an Abbess by Kustodieff, which comes from the
Museum of Fine Arts at St. Petersburg.
Briefly glancing at the Pavilion of Hungary with
the paintings, strong in key, of Csok and Ferenczy
and that of Belgium, where Van Rysselberghe, with
his luminous nudes, fills all one side of the large
room, with the weird art of fames Ensor to face
him, and where also there is some excellent sculp-
ture by Victor Rousseau and Wouters and an
interesting series of medals by Armand Bonnetain,
we come to the Italians and other nations whose
contributions are shown in the great central build-
ing. Here, in the cupola and central salon, we
have the1 decoration, light in key and brilliant in
treatment, of Galileo Chini, whose work in Siam,
where he was commissioned to decorate the throne-
room of the Royal Palace, we shall find later in the
room set apart for his work in Sala 25 ; and
around this central hall are the sculptures, monu
mental in their archaic severity of technieiue, of
Ivan Mestrovic, the Croatian sculptor.
In one of the rooms grouped around the central
hall we find a most interesting exhibition of the art
of Mermen Anglada. There are seventeen of his
paintings, all single figures, all posed more or less
conventionally, all in rich costume, and most of
them Spanish in character. If we try to analyse
their attraction we shall find it in the extraordinary
charm of colour, as distinctive a note here as in the
art of [nnocenti, and as strangely attractive. The