DOI Heft:
No. 166 (May 1915)
DOI Artikel:Buschmann, P.: Belgian artists in England, [3]
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.21212#0268
them as paragons of beauty the sculptures ot the
late Roman period. They went to Florence, became
enraptured with the bronze-casters of the quattro-
cento and, what is better, came to a closer study of
nature. They thoroughly regenerated the decayed
art in their country, and soon produced works in
which their strong native qualities were happily
refined and completed by Florentine delicacy and
elegance.
Some of these now deceased masters were repre-
sented in Burlington House : Paul de Vigne,
Charles van der Stappen, Julien Dillens, the last-
named being somewhat younger than the others.
One cannot imagine a more idealised and refined
work than the ImmortaliU by de Vigne, of which a
fragmentary bronze cas was exhibited. The com-
plete statue, intended as a funeral monument for
the painter L. de Winne, is in marble and belongs
to the Brussels Museum. The full-length figure “victoire”
262
“david” by ch. van der stappen
Belgian Artists in England
with one hand raised to heaven, is leaning on a
column, and admirably expresses deep sorrow
mitigated by resignation and confidence in eternal
life. The artist’s name was to be found on three
other works in the exhibition: a figure of Marnix
of St. Aldegonde—a prominent personage in Belgian
history—a bronze Victoire and a Portrait.
Charles van der Stappen is perhaps more nervous
and imore of a realist than the extremely refined
de Vigne; yet he did not escape Italian influence,
as proved by his vigorous and slender statue of
the youth David, certainly one of the best personi-
fications of the biblical hero. A small group,
St. Martin and the Beggar, and a Portrait bust by
the same master were also exhibited.
The very distinctive art of Julien Dillens was
not sufficiently characterised by the plaster models
of statuettes (Lansquenets). The bronze casts
surmounting the gable of the Maison du Roi in
BY VICTOR ROUSSEAU
late Roman period. They went to Florence, became
enraptured with the bronze-casters of the quattro-
cento and, what is better, came to a closer study of
nature. They thoroughly regenerated the decayed
art in their country, and soon produced works in
which their strong native qualities were happily
refined and completed by Florentine delicacy and
elegance.
Some of these now deceased masters were repre-
sented in Burlington House : Paul de Vigne,
Charles van der Stappen, Julien Dillens, the last-
named being somewhat younger than the others.
One cannot imagine a more idealised and refined
work than the ImmortaliU by de Vigne, of which a
fragmentary bronze cas was exhibited. The com-
plete statue, intended as a funeral monument for
the painter L. de Winne, is in marble and belongs
to the Brussels Museum. The full-length figure “victoire”
262
“david” by ch. van der stappen
Belgian Artists in England
with one hand raised to heaven, is leaning on a
column, and admirably expresses deep sorrow
mitigated by resignation and confidence in eternal
life. The artist’s name was to be found on three
other works in the exhibition: a figure of Marnix
of St. Aldegonde—a prominent personage in Belgian
history—a bronze Victoire and a Portrait.
Charles van der Stappen is perhaps more nervous
and imore of a realist than the extremely refined
de Vigne; yet he did not escape Italian influence,
as proved by his vigorous and slender statue of
the youth David, certainly one of the best personi-
fications of the biblical hero. A small group,
St. Martin and the Beggar, and a Portrait bust by
the same master were also exhibited.
The very distinctive art of Julien Dillens was
not sufficiently characterised by the plaster models
of statuettes (Lansquenets). The bronze casts
surmounting the gable of the Maison du Roi in
BY VICTOR ROUSSEAU