. Art and artists of our time . y corks, tasting good wine, preparing dinner, or,as here, amusing themselves in the sitting-room after dinner with listening to the clumsysinging and strumming of one of their number. In blissful unconsciousness of criticism, orindifferent to it, he gives himself up to the luxury of the C in alt., while the amiably satiricalold prior, with a face like Voltaire, takes snuff in good-natured sufferance, his doubtfulsmile reflected in the full-moon face of the young monk behind his chair. On the other sideof the stone pillar supporting the groined roof, against whic
. Art and artists of our time . y corks, tasting good wine, preparing dinner, or,as here, amusing themselves in the sitting-room after dinner with listening to the clumsysinging and strumming of one of their number. In blissful unconsciousness of criticism, orindifferent to it, he gives himself up to the luxury of the C in alt., while the amiably satiricalold prior, with a face like Voltaire, takes snuff in good-natured sufferance, his doubtfulsmile reflected in the full-moon face of the young monk behind his chair. On the other sideof the stone pillar supporting the groined roof, against which our singer leans his back, anelderly monk, disturbed in his reading the newspaper by the vocal gynmastics of his brother,turns with ill-suppressed impati nee to listen, and on the other side of the room two monks ART AND ARTISTS OF OUR TIME. 345 make sly comments on the performance: one of tliem whispers in the ear of his companion,a fat and toothless old brother, who shakes with delight over his eqnally fat brothers vaulting. THE HIGH C. FROM THE PAINTING BV BARON THURE VON CEDERSTROM. ambition. Just as Hagborg illustrates the influence of French art on some of the Swedishpainters, so Thure Cederstroms picture shows the almost complete absorption of others in 346 ART AND ARTISTS OF OUR TIME. German ideas and methods. This picture was painted in ]\Iunich, and there is nothing in itto indicate that its author is not a native of the city wliere he lives and works. The same tiling may be said of Karl Gustav Hellqvist, except that he is to be creditedwith a preference in general for Swedish subjects, though his mode of painting shows no
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Keywords: ., bookcentury1800, bookde, booksubjectpainters, booksubjectpainting
