DOI Heft:
No. 342 (September 1921)
DOI Artikel:Studio-talk
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.21393#0140
STUDIO-TALK
PARIS.—In contrast to the prevalent young this display was remarkable, and
tendency of eliminating to the point was a happy augury for his future. M.
of negation, and of limiting instead of Feau does all his own printing, and the
extending the resources of a craft, M. plates are destroyed after forty impressions
Amedee Feau, the French landscape at the most are made from them. M. C.
etcher, endeavours to derive the maximum
of possibilities from his art without strain- \ T EW YORK.—Leon Kroll has become
ing it or claiming from it effects un- IN a Member of the New Society, a
natural to his medium. Nor is he satisfied collection of fifty leading American artists,
to exploit the peculiarly inherent charms He represents American impressionism,
of the craft at the expense of attributes of and his picture, Mulberry Bend, New York,
a more general character. He selects is a good example of his workmanship
subjects as symphonic as possible, varied and of his emotional qualities. Here, as
within each composition and diverse the portrayer of the City, he has shown
among one another. In short, the quali- that he can achieve as great a success
fications of the most equipped landscape artistically as he has with the human
artist are compressed in his prints, as subject in his portrait of Ornstein at the
was evident at the exhibition of his work piano, owned by the Chicago Public
held a short time ago at Messrs. Marcel Gallery. Mulberry Bend is an historical
Guiot & Co.'s Galleries in the Rue Volney, document, showing not only the mastery
the collection comprising views in of impressionism attained by America,
Brittany and the Northern champagne but also showing a part of New York
country—that Aisne district so famous where the architecture of the new world
during the war. For an artist who is still is seen at its best. A. D.
124
' LES PEUPLIERS APRES L'lNONDA-
TION." ETCHING BY AMEDEE FEAU
(By permission of Marcel Guiot & Co.)
PARIS.—In contrast to the prevalent young this display was remarkable, and
tendency of eliminating to the point was a happy augury for his future. M.
of negation, and of limiting instead of Feau does all his own printing, and the
extending the resources of a craft, M. plates are destroyed after forty impressions
Amedee Feau, the French landscape at the most are made from them. M. C.
etcher, endeavours to derive the maximum
of possibilities from his art without strain- \ T EW YORK.—Leon Kroll has become
ing it or claiming from it effects un- IN a Member of the New Society, a
natural to his medium. Nor is he satisfied collection of fifty leading American artists,
to exploit the peculiarly inherent charms He represents American impressionism,
of the craft at the expense of attributes of and his picture, Mulberry Bend, New York,
a more general character. He selects is a good example of his workmanship
subjects as symphonic as possible, varied and of his emotional qualities. Here, as
within each composition and diverse the portrayer of the City, he has shown
among one another. In short, the quali- that he can achieve as great a success
fications of the most equipped landscape artistically as he has with the human
artist are compressed in his prints, as subject in his portrait of Ornstein at the
was evident at the exhibition of his work piano, owned by the Chicago Public
held a short time ago at Messrs. Marcel Gallery. Mulberry Bend is an historical
Guiot & Co.'s Galleries in the Rue Volney, document, showing not only the mastery
the collection comprising views in of impressionism attained by America,
Brittany and the Northern champagne but also showing a part of New York
country—that Aisne district so famous where the architecture of the new world
during the war. For an artist who is still is seen at its best. A. D.
124
' LES PEUPLIERS APRES L'lNONDA-
TION." ETCHING BY AMEDEE FEAU
(By permission of Marcel Guiot & Co.)