Studio: international art (90.1925)

SYDNEY—MADRID

CAMDEN MORSUSBY.

BOOK-PLATE BY
LIONEL LINDSAY

the Print Case, by Mr. Henry R. Ritten-
berg, A.N.A.; Dutch Peasant, by Mr.
Martin Borgord; and The Embroidery,
by Mr, August Fran^en, N.A. a 0

Eugene Castello

SYDNEY—Mr. Lionel Lindsay is al-
ready known to our readers as a
graphic artist of conspicuous ability. He
exhibited at the Australian show held at
Burlington House some two years ago,
and we were then able to reproduce one
of his woodcuts. We now give a book-
plate, the motive of which comes out of
Bozzy, and exhibits with much humour a
physical manifestation of that super-
abundant energy which characterised the
Great Cham of literature. 00a

MADRID.— Born at Nagy - Binya
(Hungary), in 1872 of noble family,
M. Sigismond de Nagy's early life was
spent in the open air alone with his gun,
and this intimate association of his youth
with nature has largely coloured his
artistic career, o 000a
Studying with Bougereau, Ferrier and
Munkacsy in Paris, he acquired his
mastery of anatomy. But his fame as a
colourist owes much to the richness of his
environment in Hungary among the bril-
liantly embroidered costumes and the
painted furniture. 0000
196

In 1914 the exhibition of M. de Nagy's
paintings in Paris gave rise to much dis-
cussion by critics and artists generally,
who looked on his work and technique as
a step in advance—one which realised the
ambition which Futurists and others had
been groping to express. 000

The dominant note of M. de Nagy's
work is impressionism, though not as
known in France. Conversant with all
French art, he has not repeated any of it.
His form of impressionism has much in
it that is subjective. It is not merely crude,
fiery reproduction of some fact, or aspect,
of nature or man, but rather a burning
representation of the sentiment or feeling
which these scenes have evoked in him,
and all unconsciously, for he does not
realise the depth of his powers of ex-
pression. 0 0 0 0 0

Do not look for detail in Nagy's work.
It must be taken as a whole. His sensualite
de couleur, as the French say, is immense.
Everything in his pictures vibrates. People,
distance, clouds, trees, all have an
intense and majestic vibration of atmos-
phere. And the basic element of all is his
sense of drawing and anatomy. 0 0

Many of his pictures are well known.
His Barca Verde in the National Gallery of
Madrid (Arte moderno) is a masterpiece,
and his large picture of the Fair at San
Isidro, bought for a great sum by the
Jockey Club, Buenos Aires, is renowned
for the masterly handling of many figures.

M. de Nagy's art appeals forcibly to
the Spanish people, who find him com-
pletely at one with themselves, and who
compare his work with that of Goya—of
Velasquez and Zuloaga. 000

Liverpool has chosen the following
pictures for its exhibition: Sunday in
Toledo, where de Nagy's power of depicting
sunshine is seen at its best; Spring
(Primavera) with the grace of Lancret,
and the richness that only de Nagy can
give; Summer Morning, its companion
picture ; El Retiro with cool blue greens
and gleaming water; Golden Burdens,
whose oranges in sunshine would lighten
any London gloom ; Mending the Fishing
Nets, a fine composition, and best of all, a
Head of Christ—a fairly representative
collection. 0000a

Alice Marttneau.