DOI Heft:
No. 183 (February 1925)
DOI Artikel:[Studio-talk]
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.21402#0117
BUDAPEST—PARIS
" LUCIEN VOGEL " (WOOD)
BY MME. CHANA ORLOFF
(Bought by the State for
the Luxembourg)
BUDAPEST.—Gyula Conrad is a promi-
nent member of the Magyar Etching
Club,whichlatelyheldamostsuccessful exhi-
bition of its members'etched work at Zurich.
Some years ago early etchings by Conrad
were reproduced in the Studio. Since
then he has made considerable progress in
his art, his powers of depiction and
execution have developed ; he is gifted
by nature with an abundance of imagina-
tive expression which he understands how
to hold well in check, together with a fine
sense of atmospheric effect and harmony
in design. Endeavouring always to tell
his tale simply he reveals an underlying
power in the self-revelation of his subject;
The Storm, A Windmill, A Bridge, or
enchanting scenes of the Danube at
Budapest and elsewhere, which, seen
through the soft moonlight tones, show
entrancing pictures. Everywhere there is
a fine sentiment in his delineations, a
delicacy of touch, though in technique he
is strong, characteristic of this city of
delights. He always convinces that he has
a reserve of force, right balance in con-
ception and execution and subtlety in treat-
ment of light and shade. A. S. L.
PARIS.—Born in Russia, Mme. Chana
Orloff came to Paris at the age of 25,
having previously had no thought of art
as a career. However, she took lessons
in drawing at the Ecole des Arts Decoratifs
and practised modelling independently,
and then, armed with photographs of two
busts she had executed, she presented
herself at the Ecole des Beaux Arts. But
the scandalised authorities refused her
admission on the grounds that she would
be " too dangerous." So she continued
to work independent of any master, and
productions like her Madonna (1914) raise
the question whether she needed any other
master than her enthusiasm for Gothic
and Egyptian work, and the busts of Rodin.
In 1919 she exhibited at the Salon
d'Automne and the Independants, while
since their foundation she has taken part
in those of the Tuileries and the Palais de
Bois. On all sides her busts have excited
surprise and admiration by their technical
mastery and their strangely powerful
penetration into character. Those of
Laden Vogel (acquired by the State) and
Edmond Fleg are masterpieces. Madame
EDMOND FLEG " (WOOD)
BY MME. CHANA ORLOFF
iii
" LUCIEN VOGEL " (WOOD)
BY MME. CHANA ORLOFF
(Bought by the State for
the Luxembourg)
BUDAPEST.—Gyula Conrad is a promi-
nent member of the Magyar Etching
Club,whichlatelyheldamostsuccessful exhi-
bition of its members'etched work at Zurich.
Some years ago early etchings by Conrad
were reproduced in the Studio. Since
then he has made considerable progress in
his art, his powers of depiction and
execution have developed ; he is gifted
by nature with an abundance of imagina-
tive expression which he understands how
to hold well in check, together with a fine
sense of atmospheric effect and harmony
in design. Endeavouring always to tell
his tale simply he reveals an underlying
power in the self-revelation of his subject;
The Storm, A Windmill, A Bridge, or
enchanting scenes of the Danube at
Budapest and elsewhere, which, seen
through the soft moonlight tones, show
entrancing pictures. Everywhere there is
a fine sentiment in his delineations, a
delicacy of touch, though in technique he
is strong, characteristic of this city of
delights. He always convinces that he has
a reserve of force, right balance in con-
ception and execution and subtlety in treat-
ment of light and shade. A. S. L.
PARIS.—Born in Russia, Mme. Chana
Orloff came to Paris at the age of 25,
having previously had no thought of art
as a career. However, she took lessons
in drawing at the Ecole des Arts Decoratifs
and practised modelling independently,
and then, armed with photographs of two
busts she had executed, she presented
herself at the Ecole des Beaux Arts. But
the scandalised authorities refused her
admission on the grounds that she would
be " too dangerous." So she continued
to work independent of any master, and
productions like her Madonna (1914) raise
the question whether she needed any other
master than her enthusiasm for Gothic
and Egyptian work, and the busts of Rodin.
In 1919 she exhibited at the Salon
d'Automne and the Independants, while
since their foundation she has taken part
in those of the Tuileries and the Palais de
Bois. On all sides her busts have excited
surprise and admiration by their technical
mastery and their strangely powerful
penetration into character. Those of
Laden Vogel (acquired by the State) and
Edmond Fleg are masterpieces. Madame
EDMOND FLEG " (WOOD)
BY MME. CHANA ORLOFF
iii