. Studio international . UVl.\c;-ROOM IN IVORY ENAMEL, WITH PAINTED DECORATION. DESIGNED BY KIMBEL) EXECUTED BY KIMBEL AND FRIEDRICHSEN, BERLIN (See Berlin Studio- Talk, f. 154) Studio- Talk. mastery over his technique and could look forwardto the future with confidence. WOOD INTARSIA PANEL IR HABERER Marussigs innate predilection is for paintingscenes of the twilight and night, but in followingthis bent he does not, as so many other painters ofnocturnes do, leave everything uniformly shroudedin a confused mass of dark brown. On the con-trary, his drawing is uncommonly precise, althou
. Studio international . UVl.\c;-ROOM IN IVORY ENAMEL, WITH PAINTED DECORATION. DESIGNED BY KIMBEL) EXECUTED BY KIMBEL AND FRIEDRICHSEN, BERLIN (See Berlin Studio- Talk, f. 154) Studio- Talk. mastery over his technique and could look forwardto the future with confidence. WOOD INTARSIA PANEL IR HABERER Marussigs innate predilection is for paintingscenes of the twilight and night, but in followingthis bent he does not, as so many other painters ofnocturnes do, leave everything uniformly shroudedin a confused mass of dark brown. On the con-trary, his drawing is uncommonly precise, althoughwith him the chief concern is always to achieve apictorial quality as the final result, in which he isgreatly aided by the adroit use of complementarycolours. Marussig has thus in a way become aspecialist in the painting of Venetian summernight effects—those nights which are never for-gotten by those who have experienced them. Anextremely sensitive eye is needed to distinguish thesubtle gradations of tone and differences of colourwhich these nocturnal scenes present and to renderthem on canvas, and among all the painters otVenice, Marussig has perhaps been as successful asany in this direc
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Keywords: ., bookcentury180, booksubjectart, booksubjectdecorationandornament
