DOI issue:
No. 377 (August 1924)
DOI article:[Notes: one hundred and ninety-three illustrations]
DOI Page / Citation link:https://doi.org/10.11588/diglit.21400#0136
BOHEMIA—TOKYO
" MADAME JEANNE TRAM-
COURT." BY OSKAR BRAZDA
where he enjoys popularity and esteem.
He was born in Pardubice in Bohemia,
on September 30th, 1887, and studied
from 1903 to 1911 in the Viennese Academy
of Art where he finished with a gold medal,
and soon after went abroad, a 0 a
The free and firm brush of Brazda
ranges over a variety of subjects, from
portraits, which strike one with their
subtle psychological analysis, to still life,
and, further, to landscapes and to bold
nudes, where feminine figures in different
poses and light effects supply a varied
scale of fragile colouring. To this last
group belong his Rhythm (1917), painted
in the broad free manner of frescoes;
After the Bath (1920) ; Woman with a
116
Cock ; In the Open Air ; a " plein-air " in
the style of the Barbizons ; Woman with
a Parrot; which reminds one much of the
manner of the founder of the modern
Czech School, Manes, and others. Amongst
his male portraits, the most interesting
are those of E. Bordero and of Shahid
Suhrowardy, remarkable for the har-
monious tone of colouring, grey in the
first, and brown in the second. His female
portraits include the Italian pianiste Renata
Borgatti, Marchese P., Froken Liddfors,
and others, in which, besides exterior
elegance, the artist has depicted the very
essence of their individuality and the
inner spiritual worth with all its shades of
feeling of the modern feminine type. The
living sensitive nature of the artist, it
appears, is not quite immune from the
influence of different schools and ten-
dencies. In his self-portrait one feels
Brandwig, in his group of females with a
background of green leaves one feels
Manet, and his big canvas named My
Children, reminds one a little of the Russian
painter Seroff. Sergi Kondakov.
TOKYO.—The sixty-fifth semi-annual
art exhibition of the Nihon Bijutsu
Kyokai, recently held in its galleries
in Uyeno Park, contained a goodly number
of excellent specimens of sculpture, mostly
in wood. In size and subject they
could all, with but one or two exceptions,
be appropriately called okimono (things
to be placed) to grace the tokonoma or the
chigai-dana (a pair, very seldom three,
of shelves at different levels and slightly
overlapping each other, located adjacent
to tokonoma and used to place objects or
ornaments to adorn the room). Though
the influence of Rodin is still most vividly
visible in the works of many contemporary
sculptors, the traces of it were hardly
discernible in the works shown at this
exhibition. One reason for this may be
found in the fact that the Bijutsu Kyokai
has always stood for the art tradition of
the country. It has encouraged its mem-
bers to infuse a new life into their products
by deriving its nourishments from the
inexhaustible fountain of old art ideals
of the Far East and to fight against the
encroachment of the whims of the Western
"isms" that has most lamentablyspoiled our
" MADAME JEANNE TRAM-
COURT." BY OSKAR BRAZDA
where he enjoys popularity and esteem.
He was born in Pardubice in Bohemia,
on September 30th, 1887, and studied
from 1903 to 1911 in the Viennese Academy
of Art where he finished with a gold medal,
and soon after went abroad, a 0 a
The free and firm brush of Brazda
ranges over a variety of subjects, from
portraits, which strike one with their
subtle psychological analysis, to still life,
and, further, to landscapes and to bold
nudes, where feminine figures in different
poses and light effects supply a varied
scale of fragile colouring. To this last
group belong his Rhythm (1917), painted
in the broad free manner of frescoes;
After the Bath (1920) ; Woman with a
116
Cock ; In the Open Air ; a " plein-air " in
the style of the Barbizons ; Woman with
a Parrot; which reminds one much of the
manner of the founder of the modern
Czech School, Manes, and others. Amongst
his male portraits, the most interesting
are those of E. Bordero and of Shahid
Suhrowardy, remarkable for the har-
monious tone of colouring, grey in the
first, and brown in the second. His female
portraits include the Italian pianiste Renata
Borgatti, Marchese P., Froken Liddfors,
and others, in which, besides exterior
elegance, the artist has depicted the very
essence of their individuality and the
inner spiritual worth with all its shades of
feeling of the modern feminine type. The
living sensitive nature of the artist, it
appears, is not quite immune from the
influence of different schools and ten-
dencies. In his self-portrait one feels
Brandwig, in his group of females with a
background of green leaves one feels
Manet, and his big canvas named My
Children, reminds one a little of the Russian
painter Seroff. Sergi Kondakov.
TOKYO.—The sixty-fifth semi-annual
art exhibition of the Nihon Bijutsu
Kyokai, recently held in its galleries
in Uyeno Park, contained a goodly number
of excellent specimens of sculpture, mostly
in wood. In size and subject they
could all, with but one or two exceptions,
be appropriately called okimono (things
to be placed) to grace the tokonoma or the
chigai-dana (a pair, very seldom three,
of shelves at different levels and slightly
overlapping each other, located adjacent
to tokonoma and used to place objects or
ornaments to adorn the room). Though
the influence of Rodin is still most vividly
visible in the works of many contemporary
sculptors, the traces of it were hardly
discernible in the works shown at this
exhibition. One reason for this may be
found in the fact that the Bijutsu Kyokai
has always stood for the art tradition of
the country. It has encouraged its mem-
bers to infuse a new life into their products
by deriving its nourishments from the
inexhaustible fountain of old art ideals
of the Far East and to fight against the
encroachment of the whims of the Western
"isms" that has most lamentablyspoiled our