DOI Heft:
No. 259 (October 1914)
DOI Artikel:Studio-talk
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.21211#0073
Studio-Talk
artistic works are inspected and confirmed by the
Academy of Arts in St. Petersburg and it is possible
that in this case the Academy will not consent to
the choice of the Committee."
A MSTERDAM..—Early in June an exhibition
/\ of original etchings by Mr. Jan Poorte-
/ % naar was held in the galleries of Messrs.
1 JL Frans Buffa and Sons in the Kalver-
stratt. Though still a good way off thirty, Mr.
Poortenaar has already reached a position of
prominence among the rising generation of Dutch
painter-etchers, and the fact that so far as this
branch of his work is concerned he is entirely self-
taught lends additional interest to his achievements.
He is an indefatigable worker and his plates now
number something like a hundred, showing a wide
range of motives and a considerable diversity of
technique. The exhibition in question comprised
more than fifty, including all his recent essays, and
not a few of these bore titles denoting a sojourn of
some duration in England. Mr. Poortenaar has
in fact spent a considerable time in London, where
his etchings have been on view in more than one
exhibition recently, and some of the most attractive
of his proofs have been inspired by such famous
sights of the great metropolis as Westminster
Abbey, Waterloo and Westminster Bridges, Tra-
falgar Square, and Westminster Cathedral. Corn-
wall too, with its rocky coast scenery, has lured
the artist, and the plates on which he has recorded
his impressions of this remote corner of England
show that his eye is susceptible to nature's beauties
under the most varied aspects. Nocturnal effects
seem to have had a special fascination for him, and
the etchings in which he has essayed to render
such themes are among his most successful efforts.
The majority of his etchings, however, have been
done in Amsterdam and its vicinity, and in some
of these—such as Western Viaduct and Under the
Viaduct—one discerns a certain affinity—as regards
subject at all events—with the etched work of
Brangwyn. But though Mr. Poortenaar has learnt
much from the masters—Rembrandt and Seghers
more especially—the personal note is, even at this
early stage of what promises to be a fruitful career,
" BUILDING A VIADUCT, AMSTERDAM " FROM AN ETCHING BY JAN POORTENAAR
68
artistic works are inspected and confirmed by the
Academy of Arts in St. Petersburg and it is possible
that in this case the Academy will not consent to
the choice of the Committee."
A MSTERDAM..—Early in June an exhibition
/\ of original etchings by Mr. Jan Poorte-
/ % naar was held in the galleries of Messrs.
1 JL Frans Buffa and Sons in the Kalver-
stratt. Though still a good way off thirty, Mr.
Poortenaar has already reached a position of
prominence among the rising generation of Dutch
painter-etchers, and the fact that so far as this
branch of his work is concerned he is entirely self-
taught lends additional interest to his achievements.
He is an indefatigable worker and his plates now
number something like a hundred, showing a wide
range of motives and a considerable diversity of
technique. The exhibition in question comprised
more than fifty, including all his recent essays, and
not a few of these bore titles denoting a sojourn of
some duration in England. Mr. Poortenaar has
in fact spent a considerable time in London, where
his etchings have been on view in more than one
exhibition recently, and some of the most attractive
of his proofs have been inspired by such famous
sights of the great metropolis as Westminster
Abbey, Waterloo and Westminster Bridges, Tra-
falgar Square, and Westminster Cathedral. Corn-
wall too, with its rocky coast scenery, has lured
the artist, and the plates on which he has recorded
his impressions of this remote corner of England
show that his eye is susceptible to nature's beauties
under the most varied aspects. Nocturnal effects
seem to have had a special fascination for him, and
the etchings in which he has essayed to render
such themes are among his most successful efforts.
The majority of his etchings, however, have been
done in Amsterdam and its vicinity, and in some
of these—such as Western Viaduct and Under the
Viaduct—one discerns a certain affinity—as regards
subject at all events—with the etched work of
Brangwyn. But though Mr. Poortenaar has learnt
much from the masters—Rembrandt and Seghers
more especially—the personal note is, even at this
early stage of what promises to be a fruitful career,
" BUILDING A VIADUCT, AMSTERDAM " FROM AN ETCHING BY JAN POORTENAAR
68