yellows, oranges, opposed by blues, greens and blacks, while the white is used pure.
Besides these important works, one may mention a panel painted at the house of M. Petel, and four noteworthy composi
tions in M. Bauthier s house at Brussels — Morning, Evening, Day and Night, large landscapes with figures, in which violetgreys and browns predominate. Here also the artist shows himself in a new vein without forfeiting his personality.
It is much to be regretted that these decorations which are painted on walls, in private houses (except those at “La Biche”) cannot be seen by a public
already conquered by M. Iacovleff s talent, as revealed in his exhibitions of Far Eastern and African work. They would add to the high esteem his pictures and drawings have brought him, by demon
strating that the severity of his style, the strength of his handwriting, find their complement in a very sure science of composition, allied with the happiest charm and fantasy.
MR. HARRY VAN DER WEYDEN. BY HERBERT B. GRIMSDITCH.
MOST of us are familiar with a certain
futile type of man who, having mismanaged something, is voluble in his
explanations of how the affair should have gone, if only... What follows consists of
excuses, not acknowledgment of bad plans badly carried out. Much that is written about the more anarchic painters of the present day reminds one of this explanatory gentleman. If the revolutionary painters and draughtsmen have done nothing else, they have at least provided material on which ingenious minds could sharpen their dialectic blades, so that many of the aesthetic discussions of to-day bear as much relation to reality as that old conundrum of the Schoolmen: “How many
angels could stand on the point of a needle? ” Was there ever before in the
world’s history a period in which it was felt necessary to bolster up current artistic practice by solid and persistent explaining-away?
“LA MORTOLA BAY. ” BY
HARRY VAN DER WEYDEN
Besides these important works, one may mention a panel painted at the house of M. Petel, and four noteworthy composi
tions in M. Bauthier s house at Brussels — Morning, Evening, Day and Night, large landscapes with figures, in which violetgreys and browns predominate. Here also the artist shows himself in a new vein without forfeiting his personality.
It is much to be regretted that these decorations which are painted on walls, in private houses (except those at “La Biche”) cannot be seen by a public
already conquered by M. Iacovleff s talent, as revealed in his exhibitions of Far Eastern and African work. They would add to the high esteem his pictures and drawings have brought him, by demon
strating that the severity of his style, the strength of his handwriting, find their complement in a very sure science of composition, allied with the happiest charm and fantasy.
MR. HARRY VAN DER WEYDEN. BY HERBERT B. GRIMSDITCH.
MOST of us are familiar with a certain
futile type of man who, having mismanaged something, is voluble in his
explanations of how the affair should have gone, if only... What follows consists of
excuses, not acknowledgment of bad plans badly carried out. Much that is written about the more anarchic painters of the present day reminds one of this explanatory gentleman. If the revolutionary painters and draughtsmen have done nothing else, they have at least provided material on which ingenious minds could sharpen their dialectic blades, so that many of the aesthetic discussions of to-day bear as much relation to reality as that old conundrum of the Schoolmen: “How many
angels could stand on the point of a needle? ” Was there ever before in the
world’s history a period in which it was felt necessary to bolster up current artistic practice by solid and persistent explaining-away?
“LA MORTOLA BAY. ” BY
HARRY VAN DER WEYDEN