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Studio: international art — 33.1905

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Hans von Bartels

double-glazing in these; the use of thick walls; seem to justify, yet in his chosen limitations there
the treatment of the roof without internal gutters, is no other painter of the moment who tells so
where snow might lodge; and the heating of the personal a narrative in so forceful a manner. His
interior by artificial means, supplemented by the work takes one near to nature, and to the primitive
indispensable cheerful blaze of the wood fire on emotions. Turning to the people who are in them-
the great open hearth. selves very near to nature, and too primitive to

The materials of which this house is to be built seem other than they are, a man must also have
have happily escaped the ordeal of the modern within himself that nameless sympathy of under-
factory. The timber, felled and wrought on the standing without which none of the fine things of
spot, still retains some suggestion of its woodland life can ever be made known to him.
home. The bricks for the walls, too, are home- Von Bartels knows himself absolutely, knows
made, and these also, in escaping the fatal discipline well the rugged qualities which underlie and
of mechanical manufacture, contrive to retain some constitute his vigorous conception of art and the
characteristics of mother earth. And thus here, in qualities he loves best to grapple with in his
that intelligent manipulation of materials which is chosen subjects. He turns to the simple fisher-
such an essential attribute of good building, the folk and workers of the fields, and through them
character of each is retained and coaxed to the he both expresses and interprets the attributes of
surface by human handicraft instead of being his own personality.

ruthlessly obliterated by a machine. Hans von Bartels was born in Hamburg in

1856, and there he spent his boyhood, watching

ANOTE ON SOME RECENT the big ships lying at anchor, and others fading
WORK BY HANS VON away into the distant grey of the sea. More and
BARTELS more was their charm wrapped about him, until in

his childish phantasy he grew to feel that in some
Hans von Bartels holds a place at once way he must give expression to all they awakened
personal and distinct in modern German art. His in him. Nothing could keep him from the shores,
outlook may not be altogether broad nor his field He would lie for hours watching the play of light
of working as extensive as his great talent would and shadow on the time-soiled sails, and in fancy

follow the great ships steam-
ing away to distant lands,
and follow them safe home
again through calm and

Perhaps he would go to
sea some day, he thought,
and that might satisfy his
love of all this; but no,
there must be something
more complete than that,
and by and by he found
his great passion made clear
to him through a little pad
and pencil.

Then there came a day
when he was to have his
first drawing-lessons, and
he was put to study with
Karl Oesterley, who lived
in Hamburg, and who was
a great enthusiast on the
Norwegian fjords. These
early lessons opened up to
the boy the ambition of his

a house in poland: m. h. baillie scott, architect . . , .

drawing-room fireplace life—to paint the sea and its

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