Studio: international art (89.1925)

BUDAPEST—RUMANIA

" THE BULLOCK-CART." BY
NICOLAE GRIGORESCU
(Photo, Stelian Petrescu)

convincing. Some landscapes by Szablya-
Treschaup are remarkable for their strong
colouring and brilliancy of technique, a
winter scene by Zoltan Remsey, a gifted
artist, is a happy transcription of nature,
simple and subtle in treatment, a 0

Of the Royal Academy members men-
tion should be made of G. M. Manne-
heimer, a well-known artist, who sent some
notable landscapes, strong, expressive and
agreeable in colouring. Gyula Rudnay,
likewise a landscapist, shows a deep
feeling for colour and atmospheric effects
which lend an individual value to his
painting. Bela Juszko merits praise for
his street scenes, which are fresh and
spontaneous and rightly chosen. Bela
Ivanyi Griinwald, for his charming idyllic
subjects, happily inspired and delicately
handled; Sandor Nagy sent some of his
delightful fanciful compositions admirably
treated, 0 0 0 0 0 0

Some few good portraits by O. Glatter
(Count Albert Apponyi) and other por-
traitists, graphic art was represented by
Robert Lenard, Gyula Conrad, and other
members of the Magyar Etching Club ;
sculpture by Sari Somlo, a worthy pupil of
Rodin, Szentgyorgi, Ede Teles, Elsa
Kalmar Koveshazy, among others, but
here there is no space even for names. 0

A* S* L*

RUMANIA.—Nicolae Grigorescu was
born in 1838 in Pinaru, a small
Rumanian village. In Bucharest he
studied for some time, but it was not till
he arrived in Paris and fell in with the
school at Fontainebleau that he began to
find himself. He was a friend of Millet's,
and many of the pictures of this early
period show Millet's influence. Grig-
orescu went back to Rumania, where his
talent was recognised on all sides in his
own lifetime. There was, according to
some critics, a consequent lowering of
his standard. 00000
Grigorescu seemed to be specially sus-
ceptible to light; a diffuse dusty sunlight
through which colours appear palely,
almost robbed of their tones, and forms
seem moulded delicately. His subjects
vary. In his earlier, more laboured and
morning-in-Barbizon style, he paints in-
teriors, nudes, landscapes with and without
figures. In his best period when he still
felt the living outline of forms, but began
to see light not so much as " white," but
as pale atmospheric colour, and when he
used the brush squarely and began to be
fond of bold brush work, he chose mainly
Rumanian peasant subjects. In his later
popular period, he slashed on white, and
against this silhouetted adorable peasant
girls and shepherd boys. H. B. Murgoci.

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