DOI issue:
No. 366 (September 1923)
DOI article:Studio-talk
DOI Page / Citation link:https://doi.org/10.11588/diglit.21398#0192
STUDIO-TALK
PARIS.—Antoine Emile Bourdelle, the
world-known French sculptor, some
photographs of whose work are reproduced
in this number, was born at Montauban in
1861. He has the distinction of being the
only contemporary artist whose work, rising
far above the trivialities of a modernism as
yet uncertain of its aesthetic note, is
conceived and executed on the same grand
and heroic scale as Rodin's. As the living
leader of the Impressionist sculptors he
has distinguished himself both by his force
and by his versatility. His bas-reliefs in the
Theatre des Champs Elysees breathe as
passionate a lovefor form as his well-known
portraits of Beethoven, Carpeaux, Ingres,
Sir G. Frazer and Anatole France. In his
beautiful symbolic pieces, so full of archi-
tectural qualities, he sweeps aside the
pseudo-classical falseness of his rivals, and
expresses touchingly, in a way no other
living man has done, the clear lyricism of
Ancient Greece. L. S. L.
On the occasion of the tenth anniversary
of the death of Gaston La Touche, an
Exhibition of his works was arranged by
his widow at the Allard Galleries in Paris.
Even ten years is long enough for the
172
work of many an artist to undergo a re-
valuation, but we have no need to revise
our estimate of La Touche. The present
exhibition introduces us to a few of the
less known paintings, among which is the
brilliant piece Les Jets d’Eau de Versailles.
It includes also several of those interiors in
which La Touche gave evidence of such
taste and intelligent understanding of old-
time art. But the most novel part of the
Exhibition consisted in a number of small
panels on wood, exquisite in colour, which
were mentioned in a special publication of
The Studio ten years ago. They form, as
it were, a series of notes taken by the
artist of aspects of nature which interested
him. 0 a a 0 a a
A Franco-Belgian Committee recently
arranged an Exhibition of ancient and
modern Belgian art at the Musee du Jeu
de Paume. The great names of the fif-
teenth and sixteenth centuries were well re-
presented, but the seventeenth was perhaps
neglected, and even among the modern
painters there were some notable lacunae.
Somewhat undue prominence has per-
haps been given to a number of nineteenth
century Belgian painters hitherto unknown
outside their own country. H. F. E.
PARIS.—Antoine Emile Bourdelle, the
world-known French sculptor, some
photographs of whose work are reproduced
in this number, was born at Montauban in
1861. He has the distinction of being the
only contemporary artist whose work, rising
far above the trivialities of a modernism as
yet uncertain of its aesthetic note, is
conceived and executed on the same grand
and heroic scale as Rodin's. As the living
leader of the Impressionist sculptors he
has distinguished himself both by his force
and by his versatility. His bas-reliefs in the
Theatre des Champs Elysees breathe as
passionate a lovefor form as his well-known
portraits of Beethoven, Carpeaux, Ingres,
Sir G. Frazer and Anatole France. In his
beautiful symbolic pieces, so full of archi-
tectural qualities, he sweeps aside the
pseudo-classical falseness of his rivals, and
expresses touchingly, in a way no other
living man has done, the clear lyricism of
Ancient Greece. L. S. L.
On the occasion of the tenth anniversary
of the death of Gaston La Touche, an
Exhibition of his works was arranged by
his widow at the Allard Galleries in Paris.
Even ten years is long enough for the
172
work of many an artist to undergo a re-
valuation, but we have no need to revise
our estimate of La Touche. The present
exhibition introduces us to a few of the
less known paintings, among which is the
brilliant piece Les Jets d’Eau de Versailles.
It includes also several of those interiors in
which La Touche gave evidence of such
taste and intelligent understanding of old-
time art. But the most novel part of the
Exhibition consisted in a number of small
panels on wood, exquisite in colour, which
were mentioned in a special publication of
The Studio ten years ago. They form, as
it were, a series of notes taken by the
artist of aspects of nature which interested
him. 0 a a 0 a a
A Franco-Belgian Committee recently
arranged an Exhibition of ancient and
modern Belgian art at the Musee du Jeu
de Paume. The great names of the fif-
teenth and sixteenth centuries were well re-
presented, but the seventeenth was perhaps
neglected, and even among the modern
painters there were some notable lacunae.
Somewhat undue prominence has per-
haps been given to a number of nineteenth
century Belgian painters hitherto unknown
outside their own country. H. F. E.