DOI Heft:
No. 128 (November, 1903)
DOI Artikel:Lux, J. A.: The "Arbeiterheim", or workmen's home, Vienna
DOI Artikel:Studio-talk
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.19880#0170
Studio- Talk
STAIRS AND LANDING IN THE VIENNA WORKMEN S HOME HUBERT GESSNER, ARCHITECT
To return to the street-front, and glance at the May collection is in many ways the most important
whole effect. A basement of 2\ metres in height of them all. It makes a convincing assertion of
is built of red artificial stone ; above, the wall is his powers, and shows certain phases of his capa-
rough cast, and, in the top storey, glazed tiles. city which have hitherto been almost unknown to
Flagstaffs adorn the cornice, and these are remark- the general public. Many of the drawings in it
able as being horizontal. They were to carry are the pen-and-ink originals of the delightful
hanging red flags, but, as these are forbidden by illustrations which have, during recent years, ap-
the police, they support signs of white letters,— peared in the pages of Punch and other periodicals;
" Arbeiterheim,"—and so cannot arouse the wrath but there are, besides, many things which will
of those to whom the red bunting is an offence. seem much less familiar, even to comparatively
Joseph A. Lux. close students of Phil May's performances. For
instance, there is a considerable number of
STUDIO-TALK examples of his work in colour, costume studies
in coloured chalks and water-colour sketches done
in Holland, all of which are distinguished by excep-
LONDON.—The winter exhibition season tional delicacy and breadth of handling, and by a
has begun in London in a decidedly very personal freshness of style; and several
promising fashion. Actually the first chalk and pencil drawings are included, in which
show to open was that of Phil May's he has rendered with surprising subtlety effects of
" remaining drawings " at the Leicester Galleries, light and shade. Evidently his masterly command
but it was followed within a few days by exhibi- of line did not lead him to neglect other forms of
tions of drawings by Charles Keene at the Dutch expression; he was not content to be a specialist
Gallery, works by members of the Modern Sketch in one branch of practice, but aimed at and
Club at the Modern Gallery, and water-colours by reached, a high standard of accomplishment in
Mr. David Green at Graves's Gallery. The Phil various directions. Through all his productions,
r53
(From our Own Correspondents)
STAIRS AND LANDING IN THE VIENNA WORKMEN S HOME HUBERT GESSNER, ARCHITECT
To return to the street-front, and glance at the May collection is in many ways the most important
whole effect. A basement of 2\ metres in height of them all. It makes a convincing assertion of
is built of red artificial stone ; above, the wall is his powers, and shows certain phases of his capa-
rough cast, and, in the top storey, glazed tiles. city which have hitherto been almost unknown to
Flagstaffs adorn the cornice, and these are remark- the general public. Many of the drawings in it
able as being horizontal. They were to carry are the pen-and-ink originals of the delightful
hanging red flags, but, as these are forbidden by illustrations which have, during recent years, ap-
the police, they support signs of white letters,— peared in the pages of Punch and other periodicals;
" Arbeiterheim,"—and so cannot arouse the wrath but there are, besides, many things which will
of those to whom the red bunting is an offence. seem much less familiar, even to comparatively
Joseph A. Lux. close students of Phil May's performances. For
instance, there is a considerable number of
STUDIO-TALK examples of his work in colour, costume studies
in coloured chalks and water-colour sketches done
in Holland, all of which are distinguished by excep-
LONDON.—The winter exhibition season tional delicacy and breadth of handling, and by a
has begun in London in a decidedly very personal freshness of style; and several
promising fashion. Actually the first chalk and pencil drawings are included, in which
show to open was that of Phil May's he has rendered with surprising subtlety effects of
" remaining drawings " at the Leicester Galleries, light and shade. Evidently his masterly command
but it was followed within a few days by exhibi- of line did not lead him to neglect other forms of
tions of drawings by Charles Keene at the Dutch expression; he was not content to be a specialist
Gallery, works by members of the Modern Sketch in one branch of practice, but aimed at and
Club at the Modern Gallery, and water-colours by reached, a high standard of accomplishment in
Mr. David Green at Graves's Gallery. The Phil various directions. Through all his productions,
r53
(From our Own Correspondents)