DOI Heft:
No. 229 (April 1912)
DOI Artikel:Reviews and notices
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.21156#0274
Reviews and Notices
blein-air school of painting. Both were born in the
same year, 1845, the former died in 1879 at the
height of his career, the latter is still happily among
the living, and his pictures are always a distinguished
feature of the exhibitions held at the Budapest
Academy of Art, of which he is one of the oldest
living members. From his earliest childhood
Szinyei has been a keen observer and lover of
nature, and has shown a keen sense of colour. He
spent eight years in Munich, from 1865-1873, study-
ing under Piloty, who had among his students at
the time Makart and Leibl, whose friendship
Szinyei gained. The various stages of Szinyei’s
somewhat tempestuous career are recounted by Dr-
Lazar in clear and lucid German, which as it flows
from his pen is particularly flexible. The volume is
illustrated with numerous photogravure and colour
reproductions of the artist’s pictures and is presented
in a very attractive style.
Chinesische Kunstgeschichte. Von Oskar Mun-
Sterberg. (Esslingen/a.N. : Paul Neff.) Vol. i.
20 mks. ; vol. ii. 28 mks., stitched.—The publica-
tion of this work occurs at an opportune moment
when Chinese art is attracting a great amount of
attention. The scope of the work is compre-
hensive—one might almost say encyclopfedic, for
practically every department of art is dealt with
and illustrated. The illustrations, which number
many hundreds, including not a few colour-plates,
in themselves give value to the work, which
textually seems to be the first attempt in Europe
to deal with the subject systematically, though
books of much insight and learning have made
their appearance from other sources in recent
years. The author, who has devoted many years
to the study of Chinese art, betrays the pre-
dilection of his race for searching analysis ; the
personal element has little concern for him and
instead of attempting to construct a history of
artists—an almost hopeless task in the present
state of our knowledge—he has preferred to
direct his attention to the intrinsic qualities which
characterise the successive periods. We gather that
he does not lay claim to any extensive first-hand
knowledge of the works that are dealt with and
illustrated—this applies more especially to the
paintings—but has relied mainly on reproductions
of them, such as those excellent prints which have
been published by the “ Kokka ” magazine in con-
siderable number. Partly for this reason, but
chiefly because there is ground for believing that
our present knowledge of Chinese pictorial art is
extremely meagre in comparison with the material
which remains unexplored, we feel that Mr.
Miinsterberg’s history must be regarded as purely
tentative, though fully deserving the consideration
of students of Oriental Art.
In a quarto brochure entitled A Reply io an
Attack made by one of Whistler's Biographers on a
Pupil of Whistler, Mr. Walter Greaves, and his
Works (2s. 6d.), Messrs. William Marchant and
Co., proprietors of the Goupil Galleries, deal at
length with the allegation that certain works ex-
hibited last May at their galleries as Mr. Greaves’s
were in fact executed in part by Whistler. The
works in question are the three pictures, Passing
under Old Battersea Bridge, Portrait of the Artist,
and The Balcony, and the etching, Barges, Lime
Wharf, Chelsea, all of which are reproduced, while
in order to strengthen their case in regard to the
first-named picture, they have reproduced portions
of it on an enlarged scale and added a reproduc-
tion of Whistler’s Nocturne—Blue and Gold in the
Tate Gallery, for comparison.
Mr. Frederick Hollyer is issuing a series of
reproductions of studies by Alfred Stevens, in
which he has secured practically facsimile results
by the special process employed. The first selec-
tion comprises twelve prints, including studies of
the female nude in various poses, and studies for
religious compositions. The prints are published
at 2S. 6d. each, or one guinea the set of twelve,
and are issued under the auspices of the Alfred
Stevens Society.
Messrs. Braun and Co., the well-known Paris
publishing house, who have a collection of over ten
thousand reproductions of pictures and drawings by
masters of various periods, propose issuing from time
to time folios containing a choice selection of the
drawings printed in the carbon process. Two of
these folios which have reached us contain ex-
amples by Holbein, Diirer, and J. F. Millet, which
are excellent renderings of the originals. There are
twelve prints in each folio, which is priced at 30J.
We have received from the firm of Johann
Ambrosius Barth of Leipzig a set of large sheet
drawings for the Life Room (Anatomische Wand-
tafeln fur den Aktsaal) which have been prepared
under the supervision of Prof. Dr. August von
Froriep, Director of the Anatomical Institute of
the University of Tubingen, showing the muscular
system of the adult male in a condition approxima-
ting more closely to the living state than is possible
where the drawings are made from the cadaver in
the dissecting-room. The set consists of nine sheets,
a key in Latin, German, French, and English ac-
companying them. The price of the complete set
is 20 marks.
2Si
blein-air school of painting. Both were born in the
same year, 1845, the former died in 1879 at the
height of his career, the latter is still happily among
the living, and his pictures are always a distinguished
feature of the exhibitions held at the Budapest
Academy of Art, of which he is one of the oldest
living members. From his earliest childhood
Szinyei has been a keen observer and lover of
nature, and has shown a keen sense of colour. He
spent eight years in Munich, from 1865-1873, study-
ing under Piloty, who had among his students at
the time Makart and Leibl, whose friendship
Szinyei gained. The various stages of Szinyei’s
somewhat tempestuous career are recounted by Dr-
Lazar in clear and lucid German, which as it flows
from his pen is particularly flexible. The volume is
illustrated with numerous photogravure and colour
reproductions of the artist’s pictures and is presented
in a very attractive style.
Chinesische Kunstgeschichte. Von Oskar Mun-
Sterberg. (Esslingen/a.N. : Paul Neff.) Vol. i.
20 mks. ; vol. ii. 28 mks., stitched.—The publica-
tion of this work occurs at an opportune moment
when Chinese art is attracting a great amount of
attention. The scope of the work is compre-
hensive—one might almost say encyclopfedic, for
practically every department of art is dealt with
and illustrated. The illustrations, which number
many hundreds, including not a few colour-plates,
in themselves give value to the work, which
textually seems to be the first attempt in Europe
to deal with the subject systematically, though
books of much insight and learning have made
their appearance from other sources in recent
years. The author, who has devoted many years
to the study of Chinese art, betrays the pre-
dilection of his race for searching analysis ; the
personal element has little concern for him and
instead of attempting to construct a history of
artists—an almost hopeless task in the present
state of our knowledge—he has preferred to
direct his attention to the intrinsic qualities which
characterise the successive periods. We gather that
he does not lay claim to any extensive first-hand
knowledge of the works that are dealt with and
illustrated—this applies more especially to the
paintings—but has relied mainly on reproductions
of them, such as those excellent prints which have
been published by the “ Kokka ” magazine in con-
siderable number. Partly for this reason, but
chiefly because there is ground for believing that
our present knowledge of Chinese pictorial art is
extremely meagre in comparison with the material
which remains unexplored, we feel that Mr.
Miinsterberg’s history must be regarded as purely
tentative, though fully deserving the consideration
of students of Oriental Art.
In a quarto brochure entitled A Reply io an
Attack made by one of Whistler's Biographers on a
Pupil of Whistler, Mr. Walter Greaves, and his
Works (2s. 6d.), Messrs. William Marchant and
Co., proprietors of the Goupil Galleries, deal at
length with the allegation that certain works ex-
hibited last May at their galleries as Mr. Greaves’s
were in fact executed in part by Whistler. The
works in question are the three pictures, Passing
under Old Battersea Bridge, Portrait of the Artist,
and The Balcony, and the etching, Barges, Lime
Wharf, Chelsea, all of which are reproduced, while
in order to strengthen their case in regard to the
first-named picture, they have reproduced portions
of it on an enlarged scale and added a reproduc-
tion of Whistler’s Nocturne—Blue and Gold in the
Tate Gallery, for comparison.
Mr. Frederick Hollyer is issuing a series of
reproductions of studies by Alfred Stevens, in
which he has secured practically facsimile results
by the special process employed. The first selec-
tion comprises twelve prints, including studies of
the female nude in various poses, and studies for
religious compositions. The prints are published
at 2S. 6d. each, or one guinea the set of twelve,
and are issued under the auspices of the Alfred
Stevens Society.
Messrs. Braun and Co., the well-known Paris
publishing house, who have a collection of over ten
thousand reproductions of pictures and drawings by
masters of various periods, propose issuing from time
to time folios containing a choice selection of the
drawings printed in the carbon process. Two of
these folios which have reached us contain ex-
amples by Holbein, Diirer, and J. F. Millet, which
are excellent renderings of the originals. There are
twelve prints in each folio, which is priced at 30J.
We have received from the firm of Johann
Ambrosius Barth of Leipzig a set of large sheet
drawings for the Life Room (Anatomische Wand-
tafeln fur den Aktsaal) which have been prepared
under the supervision of Prof. Dr. August von
Froriep, Director of the Anatomical Institute of
the University of Tubingen, showing the muscular
system of the adult male in a condition approxima-
ting more closely to the living state than is possible
where the drawings are made from the cadaver in
the dissecting-room. The set consists of nine sheets,
a key in Latin, German, French, and English ac-
companying them. The price of the complete set
is 20 marks.
2Si