DOI Heft:
No. 327 (June 1920)
DOI Artikel:Studio-talk
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.21360#0160
STUDIO-TALK
“THE LAKE OF NEHl”
BY RICHARD WILSON, R.A.
(Ford Collection)
fails to make his compositions theatrical,
but, looking at this collection of Richard
Wilson's work, we were indelibly impressed
by the unfailing dignity and reserve—only
found in the work of the greatest artists.
G. S.
GENEVA.—At the time when Edouard
Ravel began his career as an artist
traces were still visible of Geneva's past,
notably a taste for scholarship, a profound
respect for science, and a passion for
assiduous work with all its minutiose
scruples. Imagination, like a playful grey-
hound, was held well in check, and in the
eyes of the public at large the few who
sought emancipation were looked upon
with contempt in this town of scholars and
watchmakers. 0 a 0 0
Ravel's art is rational, somewhat severe,
one might even say academic. It cannot be
said, however, that he has not developed
since the first days when he loved to delight
154
us with the thousand-and-one anecdotes
coming from his brush, anecdotes of which
many still remain as vivid as ever. In his
later work there is a serenity and sweetness
whidi must be ascribed to a riper experi-
ence of life. His earliest masters were
Barthelemy, Menn, and Alfred van Muy-
den. Like many artists of his generation,
he began by painting enamels and ex-
hibited a marked talent in this still very
conventional art. Then, after trying his
hand at illustrating with success, he started
portrait painting, and, owing to the striking
likenesses of his portraits and a suppleness
of execution, he quickly came into vogue.
The museum at Lille possesses an im-
portant canvas of this period, the portrait
of the Comtesse de Pourtales and her
children. 0 0 0 0 0
Present-day critics would consider most
of Ravel's portraits as of documentary im-
portance, but their numerous possessors
are happy in knowing how a striking like-
“THE LAKE OF NEHl”
BY RICHARD WILSON, R.A.
(Ford Collection)
fails to make his compositions theatrical,
but, looking at this collection of Richard
Wilson's work, we were indelibly impressed
by the unfailing dignity and reserve—only
found in the work of the greatest artists.
G. S.
GENEVA.—At the time when Edouard
Ravel began his career as an artist
traces were still visible of Geneva's past,
notably a taste for scholarship, a profound
respect for science, and a passion for
assiduous work with all its minutiose
scruples. Imagination, like a playful grey-
hound, was held well in check, and in the
eyes of the public at large the few who
sought emancipation were looked upon
with contempt in this town of scholars and
watchmakers. 0 a 0 0
Ravel's art is rational, somewhat severe,
one might even say academic. It cannot be
said, however, that he has not developed
since the first days when he loved to delight
154
us with the thousand-and-one anecdotes
coming from his brush, anecdotes of which
many still remain as vivid as ever. In his
later work there is a serenity and sweetness
whidi must be ascribed to a riper experi-
ence of life. His earliest masters were
Barthelemy, Menn, and Alfred van Muy-
den. Like many artists of his generation,
he began by painting enamels and ex-
hibited a marked talent in this still very
conventional art. Then, after trying his
hand at illustrating with success, he started
portrait painting, and, owing to the striking
likenesses of his portraits and a suppleness
of execution, he quickly came into vogue.
The museum at Lille possesses an im-
portant canvas of this period, the portrait
of the Comtesse de Pourtales and her
children. 0 0 0 0 0
Present-day critics would consider most
of Ravel's portraits as of documentary im-
portance, but their numerous possessors
are happy in knowing how a striking like-