DOI Heft:
No. 300 (March 1918)
DOI Artikel:Halton, Ernest G.: The oil paintings of Henri Harpignies
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.21356#0052
The Oil Paintings of Henri Harpignies
"VIEW IN THE CAMPAGNA " BY HENRI HARPIGNIES
Yeuses (p. 50). An unusually open landscape we reproduce in colours a small picture, Coucher
for Harpignies is the View on the Oise (p. 49). du Soleil, in which the boldness of the colouring
As a contrast to these works, both as regards and the dramatic effect of the golden sunset
composition and execution, we have the Saint- are the most distinctive features.
Privat, reproduced in colours as a frontispiece. E. G. Halton.
The strong brushwork displayed in the trees and
buildings and the vigorous handling of the
fleecy white clouds against the blue sky, give an
TO ARTISTS ON ACTIVE SERVICE.
air of spontaneity and freshness to this admirable The Editor of The Studio is arranging to issue
canvas which will have a special interest for a Special Number on the work of artists who
those who are not familiar with this phase of are serving in the British forces, and in the pre-
the artist's work in oils. Of the same character paration of this volume he is co-operating with
in subject and treatment is the Chaumieres pres the authorities of the Imperial War Museum. For
Barbizon (p. 45) where, again, virile brushwork purposes of illustration the Editor will be glad to
is to be seen. Still broader in effect and re- receive sketches made by artists on the various
calling some of the painter's stimulating charcoal fronts, either on land or sea. These sketches
drawings are L'Etang and the Effet de Soir will be carefully preserved and returned in due
(p. 48). Good examples of the artist's skill in the course. They should be addressed to The Editor
rendering of what has been called the " archi- of The Studio, 44 Leicester Square, London,
tecture of trees " are to be seen in Le Pin W.C.2, as soon as possible, and on each the title
Meissonier (p. 43), Le Pont (p. 44), and Les of the sketch, and the name, rank, and address
Deux Chines (p. 50). As our last illustration of the artist should be clearly indicated.
46
"VIEW IN THE CAMPAGNA " BY HENRI HARPIGNIES
Yeuses (p. 50). An unusually open landscape we reproduce in colours a small picture, Coucher
for Harpignies is the View on the Oise (p. 49). du Soleil, in which the boldness of the colouring
As a contrast to these works, both as regards and the dramatic effect of the golden sunset
composition and execution, we have the Saint- are the most distinctive features.
Privat, reproduced in colours as a frontispiece. E. G. Halton.
The strong brushwork displayed in the trees and
buildings and the vigorous handling of the
fleecy white clouds against the blue sky, give an
TO ARTISTS ON ACTIVE SERVICE.
air of spontaneity and freshness to this admirable The Editor of The Studio is arranging to issue
canvas which will have a special interest for a Special Number on the work of artists who
those who are not familiar with this phase of are serving in the British forces, and in the pre-
the artist's work in oils. Of the same character paration of this volume he is co-operating with
in subject and treatment is the Chaumieres pres the authorities of the Imperial War Museum. For
Barbizon (p. 45) where, again, virile brushwork purposes of illustration the Editor will be glad to
is to be seen. Still broader in effect and re- receive sketches made by artists on the various
calling some of the painter's stimulating charcoal fronts, either on land or sea. These sketches
drawings are L'Etang and the Effet de Soir will be carefully preserved and returned in due
(p. 48). Good examples of the artist's skill in the course. They should be addressed to The Editor
rendering of what has been called the " archi- of The Studio, 44 Leicester Square, London,
tecture of trees " are to be seen in Le Pin W.C.2, as soon as possible, and on each the title
Meissonier (p. 43), Le Pont (p. 44), and Les of the sketch, and the name, rank, and address
Deux Chines (p. 50). As our last illustration of the artist should be clearly indicated.
46