DOI issue:
No. 298 (January 1918)
DOI article:Studio-talk
DOI Page / Citation link:https://doi.org/10.11588/diglit.21264#0180
Studio-Talk
of life for which so many painters are reputed,
for he was eighty-three years of age when he
died, leaving M. Claude Monet and M. Renoir
behind him as surviving representatives of the
Impressionist school. Degas was a typically
French painter in so far as power of draughts-
manship and freedom characterize those who
have most contributed to the evolutions and
transformations of that art, but the partiality he
showed for subjects taken in daily life and the
peculiar perspective he gave to their illustration,
not to speak of his antipathy for the neo-Greek
interpretation of the nude, indisposed the
academic school towards him, and after one or
two failures with its juries he gave up every
attempt to take part in
the Salons. hinally he
stopped exhibiting alto-
gether, after a few first
displays at private views
organized by the impres-
sionists in the Rue Le
Peletier. He was hardly
less celebrated as a wit
than as an artist, and many
of his mots are historical.
and mosaics. His talents as illustrator had
been appreciated by English and American
publishers. . M. C.
The well-known Belgian artist Count Jacques
de Lalaing, who died recently in Brussels, was
both a painter and a sculptor. Two of his
portraits, Madame X and The Countess de
Lalaing (his sister-in-law), have been exhibited
in the Royal Academy in London. When quite
a young man he won the gold medal at the
Salon in Paris, with a picture of a Belgian
cavalry officer riding at the head of a
squadron of Lancers. The Belgian Government
secured this for the National Museum of Ghent,
The fact that M. Eugene
Grasset (born at Lausanne
in 1850, died in Paris in
1917) was, like the great
Steinlen and M. Eugene
Vibert the wood-engraver,
of Swiss birth, having
acquired French citizen-
ship by right of naturali-
zation, is reciprocally
complimentary since he
has always been assimi-
lated to the French move-
ment in arts and crafts
which had its rise a little
prior to the 1900 exhibi-
tion. He studied the
English and Scottish ten-
dencies in applied arts
with profit but without
plagiarism. He was the
inventor of a successful
pattern in printer’s type,
and designed much excel-
lent poster-work, stained
glass, furniture, textiles,
164
PART OF FIGURE FOR A GRAVE .MONUMENT AT GHENT
J 1 BY COUNT JACQUES DE LALAING
of life for which so many painters are reputed,
for he was eighty-three years of age when he
died, leaving M. Claude Monet and M. Renoir
behind him as surviving representatives of the
Impressionist school. Degas was a typically
French painter in so far as power of draughts-
manship and freedom characterize those who
have most contributed to the evolutions and
transformations of that art, but the partiality he
showed for subjects taken in daily life and the
peculiar perspective he gave to their illustration,
not to speak of his antipathy for the neo-Greek
interpretation of the nude, indisposed the
academic school towards him, and after one or
two failures with its juries he gave up every
attempt to take part in
the Salons. hinally he
stopped exhibiting alto-
gether, after a few first
displays at private views
organized by the impres-
sionists in the Rue Le
Peletier. He was hardly
less celebrated as a wit
than as an artist, and many
of his mots are historical.
and mosaics. His talents as illustrator had
been appreciated by English and American
publishers. . M. C.
The well-known Belgian artist Count Jacques
de Lalaing, who died recently in Brussels, was
both a painter and a sculptor. Two of his
portraits, Madame X and The Countess de
Lalaing (his sister-in-law), have been exhibited
in the Royal Academy in London. When quite
a young man he won the gold medal at the
Salon in Paris, with a picture of a Belgian
cavalry officer riding at the head of a
squadron of Lancers. The Belgian Government
secured this for the National Museum of Ghent,
The fact that M. Eugene
Grasset (born at Lausanne
in 1850, died in Paris in
1917) was, like the great
Steinlen and M. Eugene
Vibert the wood-engraver,
of Swiss birth, having
acquired French citizen-
ship by right of naturali-
zation, is reciprocally
complimentary since he
has always been assimi-
lated to the French move-
ment in arts and crafts
which had its rise a little
prior to the 1900 exhibi-
tion. He studied the
English and Scottish ten-
dencies in applied arts
with profit but without
plagiarism. He was the
inventor of a successful
pattern in printer’s type,
and designed much excel-
lent poster-work, stained
glass, furniture, textiles,
164
PART OF FIGURE FOR A GRAVE .MONUMENT AT GHENT
J 1 BY COUNT JACQUES DE LALAING