DOI Heft:
No. 268 (July 1915)
DOI Artikel:Studio-talk
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.21213#0164
Studio- Talk
“CAMPESINOS DE GANDIA ” (PEASANTS OF GANDIA) (
expression which Anglada possesses, though with
him it does not involve any disregard for the other
qualities essential to the production of a work of art.
His paintings are indeed a veritable symphony of
colours, each of such brilliance that the painting
has the appearance of an enamel produced by some
imaginative and skilled master of that craft—in a
word, the colours which flow from Anglada’s brush
seem to be born of the fire, presenting as they do
those marvellous surprises which ensue from the
purifying action of fire.
Anglada also showed us a series of feminine
figures representing various distinct types of Spanish
womanhood, each with the garments and other
appurtenances proper to the type. In such works
the fantasy of the painter is manifested in a high
degree; one is struck by the beauty of the pose
which each model has assumed, and the graceful
way in which the arms and hands have been disposed.
The flesh is painted with such delicacy and with
such a diverse range of tints that even the connoisseur
who knows the secrets of the painters’ craft cannot
but marvel at the skill with which our artist achieves
these effects. And then, respecting his draughts-
manship, we have only to repeat the praise bestowed
on the artist as a colourist. Apart from his
principal works, his charcoal studies of the nude in
144
(Photo, Mas, Barcelona) by hermen anglada camarasa
ti the recent exhibition bear witness to the excellence
r of his drawing, which in his compositions, generally
:. reaches a standard commensurate with his manipu-
f lation of colour.
e In these brief notes we have attempted to convey
a our impression of Anglada’s work and have referred
ti to him more particularly as one among the painters
3 who have revealed the typical and beautiful aspects
e of Spain, but his paintings are not merely
“ Espanolados ” ; they are truly works of art, for in
them it is not the exterior that is essential—it is
s only one element which unites with other qualities
1 indispensable for extracting the essence of beauty,
r The exhibition which is the subject of these notes
s has proved a great success, and the proceeds
1 derived from the entrance fees are to be handed over
2 to the fund in aid of the widows and orphans of
1 French artists who have lost their lives in the great
war now raging. J. Grau Miro.
1 ---
r With reference to the toys designed and executed
t by M. Vladimir Polunin, a Russian artist, of which
s illustrations were given in last month’s London
Studio-Talk, we are requested to state that the
1 commission for them came to the artist not directly
3 from the Board of Trade but from another source
1 through the instrumentality of the Board.
“CAMPESINOS DE GANDIA ” (PEASANTS OF GANDIA) (
expression which Anglada possesses, though with
him it does not involve any disregard for the other
qualities essential to the production of a work of art.
His paintings are indeed a veritable symphony of
colours, each of such brilliance that the painting
has the appearance of an enamel produced by some
imaginative and skilled master of that craft—in a
word, the colours which flow from Anglada’s brush
seem to be born of the fire, presenting as they do
those marvellous surprises which ensue from the
purifying action of fire.
Anglada also showed us a series of feminine
figures representing various distinct types of Spanish
womanhood, each with the garments and other
appurtenances proper to the type. In such works
the fantasy of the painter is manifested in a high
degree; one is struck by the beauty of the pose
which each model has assumed, and the graceful
way in which the arms and hands have been disposed.
The flesh is painted with such delicacy and with
such a diverse range of tints that even the connoisseur
who knows the secrets of the painters’ craft cannot
but marvel at the skill with which our artist achieves
these effects. And then, respecting his draughts-
manship, we have only to repeat the praise bestowed
on the artist as a colourist. Apart from his
principal works, his charcoal studies of the nude in
144
(Photo, Mas, Barcelona) by hermen anglada camarasa
ti the recent exhibition bear witness to the excellence
r of his drawing, which in his compositions, generally
:. reaches a standard commensurate with his manipu-
f lation of colour.
e In these brief notes we have attempted to convey
a our impression of Anglada’s work and have referred
ti to him more particularly as one among the painters
3 who have revealed the typical and beautiful aspects
e of Spain, but his paintings are not merely
“ Espanolados ” ; they are truly works of art, for in
them it is not the exterior that is essential—it is
s only one element which unites with other qualities
1 indispensable for extracting the essence of beauty,
r The exhibition which is the subject of these notes
s has proved a great success, and the proceeds
1 derived from the entrance fees are to be handed over
2 to the fund in aid of the widows and orphans of
1 French artists who have lost their lives in the great
war now raging. J. Grau Miro.
1 ---
r With reference to the toys designed and executed
t by M. Vladimir Polunin, a Russian artist, of which
s illustrations were given in last month’s London
Studio-Talk, we are requested to state that the
1 commission for them came to the artist not directly
3 from the Board of Trade but from another source
1 through the instrumentality of the Board.