DOI issue:
No. 387 (September 1924)
DOI article:[Notes: one hundred and ninety-three illustrations]
DOI Page / Citation link:https://doi.org/10.11588/diglit.21400#0189
PARIS—COPENHAGEN
kept to the Oriental principle of geo-
metrical composition. 000
For these reasons the carpets designed
by Monsieur G. Fayet are both surprising
and interesting in a very high degree.
M. Fayet is a man in whom the senses
much more than the mind (however one
may wish to carp at this), are very sensitive
to the harmonies of colour resulting from
the simple juxtaposition of appropriate
masses—harmonies made still more effec-
tive by the arrangement of these masses
in rhythms suggesting movement. This
is a rough analysis (much too rough,
however) of his talent. This talent is in
certain respects comparable with that of
the Orientals, since he makes great play
with harmonies and oppositions of tones ;
but his work is alien from their style, in
that it does not confine itself to pure
geometrical arrangements, but is often
expressed in the most rare and delightful
fantasies of moving lines. Is it surprising,
then, to find that M. Fayet has drawn his
inspiration not only from wild nature,
but also, chiefly from the flora and fauna
of the under-sea, where animals and plants
CARPET DESIGNED
BY G. FAYET
MEMORIAL RELIEF TO PIETRO
KROHN (MARBLE AND
BRONZE). BY J. F. WILLUMSEN
are so similar that one might mistake one
for the others M. Fayet's carpets are
the translation into material (under the
direction of a highly-skilled technician, M.
Dumas) of fine decorative water-colours,
in the first place conceived as pure specula-
tions of the artist, which have found a won-
derful use in the realm of practical affairs.
COPENHAGEN.—Jens Ferdinand Wil-
lumsen is Denmark's most versatile
artist. He is now sixty years of age, and
in his studios at Nice and Copenhagen
he has produced copiously works in paint-
ing, sculpture, wood carving, ceramics and
architecture, which reflect the movements
and spirit of the whole range of modern
art. He has felt the domination of sun-
light as Gauguin and Van Gogh did, and
their desire for realistic presentation of
form ; he has been swept into the cur-
rent in which Cezanne was immersed;
he has realised the urgent pictorial reality
of portraiture with Augustus John. 0
He was a more complete realist in 1885,
when he painted the interior of a mill with
two male figures, or in 1888, when he painted
169
kept to the Oriental principle of geo-
metrical composition. 000
For these reasons the carpets designed
by Monsieur G. Fayet are both surprising
and interesting in a very high degree.
M. Fayet is a man in whom the senses
much more than the mind (however one
may wish to carp at this), are very sensitive
to the harmonies of colour resulting from
the simple juxtaposition of appropriate
masses—harmonies made still more effec-
tive by the arrangement of these masses
in rhythms suggesting movement. This
is a rough analysis (much too rough,
however) of his talent. This talent is in
certain respects comparable with that of
the Orientals, since he makes great play
with harmonies and oppositions of tones ;
but his work is alien from their style, in
that it does not confine itself to pure
geometrical arrangements, but is often
expressed in the most rare and delightful
fantasies of moving lines. Is it surprising,
then, to find that M. Fayet has drawn his
inspiration not only from wild nature,
but also, chiefly from the flora and fauna
of the under-sea, where animals and plants
CARPET DESIGNED
BY G. FAYET
MEMORIAL RELIEF TO PIETRO
KROHN (MARBLE AND
BRONZE). BY J. F. WILLUMSEN
are so similar that one might mistake one
for the others M. Fayet's carpets are
the translation into material (under the
direction of a highly-skilled technician, M.
Dumas) of fine decorative water-colours,
in the first place conceived as pure specula-
tions of the artist, which have found a won-
derful use in the realm of practical affairs.
COPENHAGEN.—Jens Ferdinand Wil-
lumsen is Denmark's most versatile
artist. He is now sixty years of age, and
in his studios at Nice and Copenhagen
he has produced copiously works in paint-
ing, sculpture, wood carving, ceramics and
architecture, which reflect the movements
and spirit of the whole range of modern
art. He has felt the domination of sun-
light as Gauguin and Van Gogh did, and
their desire for realistic presentation of
form ; he has been swept into the cur-
rent in which Cezanne was immersed;
he has realised the urgent pictorial reality
of portraiture with Augustus John. 0
He was a more complete realist in 1885,
when he painted the interior of a mill with
two male figures, or in 1888, when he painted
169