DOI issue:
No. 331 (October 1920)
DOI article:Studio-Talk
DOI Page / Citation link:https://doi.org/10.11588/diglit.21401#0131
"THE GRAVE OF GELLERT"
DRAWING IN OILS BY F.W.HAYES
was seldom any heavy impasto. It may be
supposed that such a method would not
make for permanence ; on the contrary,
owing to the nature of the surface, the
thinness of the paint and the comparative
absence of dangerous oils, there is no
observable diminution in freshness in
those which were painted forty years ago.
Already examples have found their way
into the permanent collections at the
British Museum, South Kensington and
the Walker Art Gallery, and there are
many evidences that they will soon secure
the recognition they deserve." a a
PRAGUE.—The present year is the
centenary of the birth of Josef Manes,
who is generally acknowledged as the
father of the modern school of painting
in this country, and homage to his memory
has been paid in several exhibitions held
here during the past few months. Manes
died nearly fifty years ago, but his art
was never appreciated during his life,
and his .last days were marked by great
dejection which culminated in serious
mental trouble. Not until more than a
decade after he was laid to rest in the
old burial ground of the Vysehrad—the
116
upper town—of Prague was there any
real consciousness of his greatness. Then
—in the 'eighties—a number of young
artists banded together and formed a
society bearing his name, and this society,
representing the progressive elements in
our art, has kept alive and furthered the
principles of the master whose name
they honour. His influence has indeed
been far-reaching, and of the Czech
painters who since his time have attained
to note it would be difficult to point to
any who do not owe something to Josef
Manes. a a a a a
Manes as a young man studied in
Munich, and was influenced to some
extent by Schwind and Richter. When
he returned to Prague the movement for
the revival of national ideals was under
way and secured in him a champion in
the domain of art, which still languished
under the constraint of a rigid academicism.
He became the interpreter of the national
legends and the illustrator of national
songs, remaining above all a painter,
eager to grasp the pictorial possibilities
of a situation. As a discoverer and
describer of Nature, he set out to depict
with the enthusiastic love of the patriot
DRAWING IN OILS BY F.W.HAYES
was seldom any heavy impasto. It may be
supposed that such a method would not
make for permanence ; on the contrary,
owing to the nature of the surface, the
thinness of the paint and the comparative
absence of dangerous oils, there is no
observable diminution in freshness in
those which were painted forty years ago.
Already examples have found their way
into the permanent collections at the
British Museum, South Kensington and
the Walker Art Gallery, and there are
many evidences that they will soon secure
the recognition they deserve." a a
PRAGUE.—The present year is the
centenary of the birth of Josef Manes,
who is generally acknowledged as the
father of the modern school of painting
in this country, and homage to his memory
has been paid in several exhibitions held
here during the past few months. Manes
died nearly fifty years ago, but his art
was never appreciated during his life,
and his .last days were marked by great
dejection which culminated in serious
mental trouble. Not until more than a
decade after he was laid to rest in the
old burial ground of the Vysehrad—the
116
upper town—of Prague was there any
real consciousness of his greatness. Then
—in the 'eighties—a number of young
artists banded together and formed a
society bearing his name, and this society,
representing the progressive elements in
our art, has kept alive and furthered the
principles of the master whose name
they honour. His influence has indeed
been far-reaching, and of the Czech
painters who since his time have attained
to note it would be difficult to point to
any who do not owe something to Josef
Manes. a a a a a
Manes as a young man studied in
Munich, and was influenced to some
extent by Schwind and Richter. When
he returned to Prague the movement for
the revival of national ideals was under
way and secured in him a champion in
the domain of art, which still languished
under the constraint of a rigid academicism.
He became the interpreter of the national
legends and the illustrator of national
songs, remaining above all a painter,
eager to grasp the pictorial possibilities
of a situation. As a discoverer and
describer of Nature, he set out to depict
with the enthusiastic love of the patriot