DOI article:
Studio-talk
DOI Page / Citation link:https://doi.org/10.11588/diglit.21214#0298
Studio-Talk
before the group of studies of costume and stage
settings by M. Leon Bakst, seen for the first time
in this city and occupying the entire wall-space of
one of the rooms and the place of distinction in
another. Comment upon these astonishingly clever
and original works, after they have been talked
about so much previously, might seem superfluous,
yet one, could not fail to be impressed with the
extraordinary measure of research of an historical
or archeological nature combined with a fine
appreciation of colour in novel combinations, that
must have been necessary to evolve such as the
dress of The Blue God, the Polish garb of the
figures in Boris Godounow, in Pisanelle, the
Grecians in Heleti of Sparta and in Daphnis
and Chloe. The designs for modern costume
were full of artistic suggestions also. Bakst
exhibited a number of studies for stage settings
absolutely blazing with colour.
As M. Bakst’s work has already been the subject
of a review in the pages of The Studio, we can
proceed to mention another remarkably interesting
group of a decorative intent by Mr. Alexander
Robinson, executed in water-colour, glowing with
the splendour of tropical sunlight, brushed with a
freedom that veils knowledge, at the same time
that it makes itself sufficiently felt and using as
motifs glimpses of the West Indies, Algiers, Old
Spain, and Persia. No mere copying of the model
in these works, but efforts to solve certain problems
in colour always presenting themselves to the
artist, who has not been misled by the photographic
eye into neglect of the things that score a real
success in pure artistry, creations of the painter’s
own, unique examples of human intelligence.
This attitude of modern art was probably best seen
in his View of the Cathedral, Segovia.
Mr. Francis McComas showed some new notes
in American landscape-painting in a group of
views of Arizona and California, the pine trees
and the enchanted mesas, sacred to the Indians,
forming the objective of most of the pictures.
The work of a number of women exhibiting showed
a very satisfactory degree of talent, such as Miss
Jane Peterson’s Old Ship-yard, Gloucester, Miss
Felicie Waldo Howell’s The Pier, executed as
292
before the group of studies of costume and stage
settings by M. Leon Bakst, seen for the first time
in this city and occupying the entire wall-space of
one of the rooms and the place of distinction in
another. Comment upon these astonishingly clever
and original works, after they have been talked
about so much previously, might seem superfluous,
yet one, could not fail to be impressed with the
extraordinary measure of research of an historical
or archeological nature combined with a fine
appreciation of colour in novel combinations, that
must have been necessary to evolve such as the
dress of The Blue God, the Polish garb of the
figures in Boris Godounow, in Pisanelle, the
Grecians in Heleti of Sparta and in Daphnis
and Chloe. The designs for modern costume
were full of artistic suggestions also. Bakst
exhibited a number of studies for stage settings
absolutely blazing with colour.
As M. Bakst’s work has already been the subject
of a review in the pages of The Studio, we can
proceed to mention another remarkably interesting
group of a decorative intent by Mr. Alexander
Robinson, executed in water-colour, glowing with
the splendour of tropical sunlight, brushed with a
freedom that veils knowledge, at the same time
that it makes itself sufficiently felt and using as
motifs glimpses of the West Indies, Algiers, Old
Spain, and Persia. No mere copying of the model
in these works, but efforts to solve certain problems
in colour always presenting themselves to the
artist, who has not been misled by the photographic
eye into neglect of the things that score a real
success in pure artistry, creations of the painter’s
own, unique examples of human intelligence.
This attitude of modern art was probably best seen
in his View of the Cathedral, Segovia.
Mr. Francis McComas showed some new notes
in American landscape-painting in a group of
views of Arizona and California, the pine trees
and the enchanted mesas, sacred to the Indians,
forming the objective of most of the pictures.
The work of a number of women exhibiting showed
a very satisfactory degree of talent, such as Miss
Jane Peterson’s Old Ship-yard, Gloucester, Miss
Felicie Waldo Howell’s The Pier, executed as
292