Evening star. [volume] (Washington, D.C.) 1854-1972, 1902-06-20


started without money or influence. has
succeeded in winning the cooperation OF
Belgian cabinet ministers. and is now ma
tionaI in its scope. Ii finds expression in
almost countless channels, is altering the
aspect of the Belgian cities, and is restor-
ing to their modern environment something
of the beauty OF the ancient Flemish art
The society which has accomplished such
notable results within so short space OF
time is known as ''L'Oeuvre Rationale ue
TART applique a la Rue and IS declared
objects are:
Emulation in Art.
ITO create an emulation among artists.
by discovering a practical way In which
their works may be inspired with general
interests.
To Clothe in an artistic form all that
progress has made useful in the public life
To transform the streets into picturesque
museums comprising various elements OF
education for the people.
To restore to art its one-tine social mis-
sion, by applying it to the modern idea in
all the departments controlled by the puo-
lie authorities
Writing OF the early work of the society
In Harpers magazine Mr.. Charles Milford
Robinson says:
'.L'Oeuvre's first act. after the early pub
icatiOn of its principles. was a formal an
nOunCement in 1894 that il intended to show
open contests for the most beautiful coli,
struction new street of Brussels. tins
Rue Joseph Stevens. and for various objects
of public utility These latter were to in
clude street fountains, electric light poles,
flag STATS newspaper-kiosks, &c. So in
the first year there was promised an imme-
diate starting of that work now so widely
known, and of the example, which Paris
has lately followed, of prizes for the most
artistic house fronts on new streets The
society knew. long before its Gefinite or
ganization had been completed. precisely
what It's work should be.
Artistic Signs.
In It's second year. 1898. L'Oeuvre ar
ranged an exposition of artistic signs. an
Client and modern-held at the Museum of
Brussels; organized % a competition for
plans. and 60 competition for signs that
had been executed. These were really the
first undertakings of the socity by itself
and the subject was chosen with the special
purpose OF indicating the practical useful
ness OF It's teaching, and to combat the
widely current but false idea that art Is in
compatible with economy and the necessi-
ties Of trade . There is no pre-
tense that these signs are now the best to
be seen in Belgium. but 1t is claimed that
they were the best at that time. and that
the improvement which has since taken
place must be largely due to the impetus of
competitions
In the next year, 1896. L'Oeuvre gave its
attention to the decorative quality of APP
p4TALuS Tor pubic EghIlng. Win the result
that single candelabrum, designed for the
Place de la MOnnaie in Brussels, has been
reproduced in a great number of other
cities Prizes We're also offered for a poster
for the Brussels fair and for the poster of
a beef extract company, and competitions
were instituted for designs of postage
stamps TO commemorate the Brussels expo
sition and for designs for the new national
coinage. The writer continues:
Treasures of Civic Art.
'-The fourth year of L'Oeuvre's existence.
194. was notable in Brussels fer the hold
ing Of a worlds fair, and the society de-
cided to bend its energies that year to the
fitting up at the exposition Of a department
Of public art. in which it might give care
full and. it hoped. an inspiring. demonstra-
ton Of It's work and aims, and of the an
Gent glory OF civic art in Belgium On &C
count of the latter purpose the exhibit was
largely historical. and Antwerp. LleSe
Client Bruges. Namur and many other
cities Joined with the enthusiasts of the city
OF Brussels TO make it both interesting and
valuable.
Each city sent exhibits in original or re-
production. OF It's own treasures Of public
art in whatever sphere. These carefully
classified. were arranged in seven sections,
as follows: % Monumental and decorative
facades with their details: CO monuments
commemorative, etc; 81 signs; "a appara-
tus for public lighting and decorations; 90
fountains. wells. pumps. etc: 90 monu-
ture: % decoration for public fetes. The
whole made showing OF which Belgium
had reason to be proud, and whence its am
bitiOn might be fed
So great was the general interest that
the society felt encouraged to call a ma
tiOnai and, later. an International. confer
ence for the consideration of the decorative
arts. The latter gathering was attended by
30 delegates including representatives
from England, France. the United States.
Sweden. Norway. Holland and Hungary.
As one result Of the convention the move
rneut Is beginning 10 take root In other
countries. Says Mr.. Robinson:
Belgium's Example.
Paris has founded a public society in
likeness to L'Oeuvre; cities OF Italy led to
dream Of their lovely past. have followed
the Belgian example IN an organized effort
u reclaim 1t. The dctum that there is
essential reason why cities should be ugly
why the centers which are gathering to
themselves an ever larger proportion of civ
ilized mankind should not be built with
beauty worthy OF their high position that
the artistic In public work Is as cheap as
the hideous, and far more 10 be desired, is
ringing unchallenged through many
thoughtful nations.
80 Art dams la rue has Of late years be-
come ralying cry that reaches farther
than Belgium'5 little cities: but the move
meut has found in them its strongest or
ganZation, gains confidence in the thought
81 their proud history. finds inspiration in
the loyalty to tradition Of the earnestness
of their present effort to reclaim it. There
IS no art endeavor OF the day that is as
interesting as that OF LOeuvre Rationale
ings. to bring beauty into the familiar
phases OF city life, and thus to raise its