DOI Heft:
No. 268 (July 1915)
DOI Artikel:Studio-talk
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.21213#0162
Studio- Talk
“the cathedral of rheims”
(Moscow Society of A rtists)
BY STANISLAW NOAKOWSKI
again clearly demonstrated in the recent annual
exhibition of the Society.
On this occasion the exhibits that attracted most
attention were some portraits by Mme. N. Simono-
vitch Yefimova, very intensive in conception and
shrewd in characterisation, and the contributions of
Fedor Zakharoff, of whom I had occasion to speak
in the April number of this magazine, in which a
reproduction was given of his self-portrait. Here
his portrait of a lady (Madame F.), in type some-
what reminiscent of Terborch, and in its miniature-
like technique of thepetits mattresoi the Netherlands,
proved a great success, but the young artist appeared
even more attractive perhaps in other works of a
less “polished” character and exhibiting a more
modern style of treatment, exemplified more par-
ticularly in a very fine sketch for a family portrait.
Of much interest also, on account of its purely
pictorial qualities was the work of J. Chapchal, who
before the outbreak of war worked chiefly in Paris
and was in the exhibition under notice represented
by two large, broadly painted studies, both of them
very attractive in their rich coloration.
142
The graphic section contained a large number
of exhibits. Stanislaw Noakowski, whose studies
of Russian architecture I have on two occasions
had the privilege of bringing to the notice of readers
of The Studio, was here represented by a series of
motives from his Polish home-land, and a very
fine drawing of that magnificent monument of
Gothic architecture, the Cathedral of Rheims,
now, alas ! scarcely more than a ruin, if, indeed, it
has not been utterly destroyed. The drawing was
executed to serve as a decoration for stage scenery.
Another work bearing some relation to the tragic
times through which we are passing, was a painting,
St. Sebastian, by J. Nivinski, who in the figure of
the martyred saint has symbolised unhappy Belgium,
tortured by the deadly arrows of the invader. This
painting, together with some excellent etchings and
nude studies by the same artist, pointed to an
assiduous study of the human figure. Finally,
mention should be made of a cycle of designs by
V. Vladimiroff for the decoration of a church in
South Russia, but though executed with taste and
considerable skill they failed to arouse in the spectator
more than a lukewarm interest. P. E.
“the cathedral of rheims”
(Moscow Society of A rtists)
BY STANISLAW NOAKOWSKI
again clearly demonstrated in the recent annual
exhibition of the Society.
On this occasion the exhibits that attracted most
attention were some portraits by Mme. N. Simono-
vitch Yefimova, very intensive in conception and
shrewd in characterisation, and the contributions of
Fedor Zakharoff, of whom I had occasion to speak
in the April number of this magazine, in which a
reproduction was given of his self-portrait. Here
his portrait of a lady (Madame F.), in type some-
what reminiscent of Terborch, and in its miniature-
like technique of thepetits mattresoi the Netherlands,
proved a great success, but the young artist appeared
even more attractive perhaps in other works of a
less “polished” character and exhibiting a more
modern style of treatment, exemplified more par-
ticularly in a very fine sketch for a family portrait.
Of much interest also, on account of its purely
pictorial qualities was the work of J. Chapchal, who
before the outbreak of war worked chiefly in Paris
and was in the exhibition under notice represented
by two large, broadly painted studies, both of them
very attractive in their rich coloration.
142
The graphic section contained a large number
of exhibits. Stanislaw Noakowski, whose studies
of Russian architecture I have on two occasions
had the privilege of bringing to the notice of readers
of The Studio, was here represented by a series of
motives from his Polish home-land, and a very
fine drawing of that magnificent monument of
Gothic architecture, the Cathedral of Rheims,
now, alas ! scarcely more than a ruin, if, indeed, it
has not been utterly destroyed. The drawing was
executed to serve as a decoration for stage scenery.
Another work bearing some relation to the tragic
times through which we are passing, was a painting,
St. Sebastian, by J. Nivinski, who in the figure of
the martyred saint has symbolised unhappy Belgium,
tortured by the deadly arrows of the invader. This
painting, together with some excellent etchings and
nude studies by the same artist, pointed to an
assiduous study of the human figure. Finally,
mention should be made of a cycle of designs by
V. Vladimiroff for the decoration of a church in
South Russia, but though executed with taste and
considerable skill they failed to arouse in the spectator
more than a lukewarm interest. P. E.