DOI Heft:
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DOI Heft:English Supplement
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.27696#0679
ART NEWS AND NOTES
DRAWINGS IN THE ITALIAN EXHIBITION IN
LONDON
The collection of drawings for the Italian exhibi-
tion has been carried oul vcry systematically and
the result is a very extensive show. There is, how-
ever, one reservation to he made. Almost all the
collection is dcvoled to Renaissance art. From tho
heginning of Baroque on there are decided omis-
sions, so that the full development of Italian art
cannot be studied.
The Renaissance examples are for the most part
frorn public collections. The Uffizi and Windsor
liave loaned their best drawings. There are also
sketches fröm the private collections of the Duke
of Devonshire und Ilenry Oppenheimer, the con-
tinental collections of Frans Koenig andFritsLugt
are also represented.
The greatest impression is made by the sketches
of the Florentine masters of the i4 th—i6 th cen-
luries, of which tliere are a great number and
which are also interesting from an artistic stand-
point. The largest space is given to Leonardo, Ra-
|>huol and Michelangelo. In central Italy up to the
time of Raphael silver' point was the chief means
of expression in drawing, in upper Italy, however,
during the Quatrocento crayon and pen were used
almost exclusively. The best of these are by
Pisanello and Mantegna. Aniong the Venetian
sketches of the Rcnaissance are drawings by Gior-
gione, Titian, Tintoretto.
The same period, i/|00—1600, is shown in the
cxhil )ilion of the Print Room of the British Mu-
seum, which has opened up its extensive collec-
tion of Italian drawings. The two exhibitions to-
gether offer a most convenient opportunity for
study and present a most complete show of Italian
drawing of the Renaissance. Scharf
EXIIIBITION OF FRENCIi SCÜLPTURE 1N
TIIE DEMOTTE GALLERY NEW YORK
A small but very interesting exhibition of French
sculpture was opened in the Demotte Gallery, New
York, the end of February. The show is confined
to a display of a number of good examples whicli
demönslrate llie dcvelopinenl of the Madonna type
from the ia th to the i8 th century. At the same
time the characterics of eacli type are made clear,
and an idea given of the variations in conception,
as well as in the artistic attitude in Frartce.
REMBRANDT EXHIBITION IN BERLIN
This exhibition is divided inlo three divisions:
paintings, drawings and etchings. The last two
departments have been delegated the larger space.
The paintings, which are shown in two rooms of
the nine given over to thc exhibition, are confined
to a few works. They are intended as an introduc-
tion to the various phases of his creative develop-
ment as a draughtsman and etcher. This exhibition
therefore differs from all others in that the etch-
ings ancl drawings have been giv.en the place of
importance. A11 of his periods and technique can
be seen, also various studies and composition
sketches. 4 o pieces from the Koenig Collection in
Haarlem and a few drawings from private collec-
tions have added greatly to the material availalile
here.
THE PAINTING OF TIIE ABSTRACTS AND
THE SURREALISTS
The Kunsthaus of Zurich is showing an exhibition
of this group of painters, that is those who are
of importance. The initiative steps for this ex-
hibition were taken by Giedion (Zurich). This
show has been displayed in the Graphic Cabinet m
Munich in the mean time and will also be shown
elsewhere. Giedion recognised the necessity of
showing these “unpopular” artists. Hans Arp
(Paris) secured most of the works. A selection has
been made which may at first seern to be subject-
ive, but which has, however, brought out the
chief characteristics. Originally Giedion planned
a more extensive view: “The new Optics”. This
idea was to include new ways of seeing and ncw
medelling; new painting, sculpture, architecture,
furniture, ulcnsils w'erc to be shown together. An
important subject. This idea must bc carried out
so that all the subterranean connections of these
last years in the various spheres of art may be
brought to light and show how the wheels of time
cannot be turned back hy open or disguised reac-
tionaries. Roh
COLOGNE
Some time ago the Cicerone drew the attention
to certain projccts relalive to the Wallraf-Richartz
Museum in Cologne. In the building of the mu-
seum is a cloister of llic i4 th century, which
would disappear should the building be torn down
as planned. Our statement of the rumour caused
some uneasiness. The city council of Cologne
thereupon found it necessary to assure us that
there was no thought of making any c.hanges.
It is also interesting to nole tliat the second Goethe
(the first hy F. C. Colbe was brought to light
again some months ago) after being stored for
ten years w ras again placed on show in the Museum.
DRAWINGS IN THE ITALIAN EXHIBITION IN
LONDON
The collection of drawings for the Italian exhibi-
tion has been carried oul vcry systematically and
the result is a very extensive show. There is, how-
ever, one reservation to he made. Almost all the
collection is dcvoled to Renaissance art. From tho
heginning of Baroque on there are decided omis-
sions, so that the full development of Italian art
cannot be studied.
The Renaissance examples are for the most part
frorn public collections. The Uffizi and Windsor
liave loaned their best drawings. There are also
sketches fröm the private collections of the Duke
of Devonshire und Ilenry Oppenheimer, the con-
tinental collections of Frans Koenig andFritsLugt
are also represented.
The greatest impression is made by the sketches
of the Florentine masters of the i4 th—i6 th cen-
luries, of which tliere are a great number and
which are also interesting from an artistic stand-
point. The largest space is given to Leonardo, Ra-
|>huol and Michelangelo. In central Italy up to the
time of Raphael silver' point was the chief means
of expression in drawing, in upper Italy, however,
during the Quatrocento crayon and pen were used
almost exclusively. The best of these are by
Pisanello and Mantegna. Aniong the Venetian
sketches of the Rcnaissance are drawings by Gior-
gione, Titian, Tintoretto.
The same period, i/|00—1600, is shown in the
cxhil )ilion of the Print Room of the British Mu-
seum, which has opened up its extensive collec-
tion of Italian drawings. The two exhibitions to-
gether offer a most convenient opportunity for
study and present a most complete show of Italian
drawing of the Renaissance. Scharf
EXIIIBITION OF FRENCIi SCÜLPTURE 1N
TIIE DEMOTTE GALLERY NEW YORK
A small but very interesting exhibition of French
sculpture was opened in the Demotte Gallery, New
York, the end of February. The show is confined
to a display of a number of good examples whicli
demönslrate llie dcvelopinenl of the Madonna type
from the ia th to the i8 th century. At the same
time the characterics of eacli type are made clear,
and an idea given of the variations in conception,
as well as in the artistic attitude in Frartce.
REMBRANDT EXHIBITION IN BERLIN
This exhibition is divided inlo three divisions:
paintings, drawings and etchings. The last two
departments have been delegated the larger space.
The paintings, which are shown in two rooms of
the nine given over to thc exhibition, are confined
to a few works. They are intended as an introduc-
tion to the various phases of his creative develop-
ment as a draughtsman and etcher. This exhibition
therefore differs from all others in that the etch-
ings ancl drawings have been giv.en the place of
importance. A11 of his periods and technique can
be seen, also various studies and composition
sketches. 4 o pieces from the Koenig Collection in
Haarlem and a few drawings from private collec-
tions have added greatly to the material availalile
here.
THE PAINTING OF TIIE ABSTRACTS AND
THE SURREALISTS
The Kunsthaus of Zurich is showing an exhibition
of this group of painters, that is those who are
of importance. The initiative steps for this ex-
hibition were taken by Giedion (Zurich). This
show has been displayed in the Graphic Cabinet m
Munich in the mean time and will also be shown
elsewhere. Giedion recognised the necessity of
showing these “unpopular” artists. Hans Arp
(Paris) secured most of the works. A selection has
been made which may at first seern to be subject-
ive, but which has, however, brought out the
chief characteristics. Originally Giedion planned
a more extensive view: “The new Optics”. This
idea was to include new ways of seeing and ncw
medelling; new painting, sculpture, architecture,
furniture, ulcnsils w'erc to be shown together. An
important subject. This idea must bc carried out
so that all the subterranean connections of these
last years in the various spheres of art may be
brought to light and show how the wheels of time
cannot be turned back hy open or disguised reac-
tionaries. Roh
COLOGNE
Some time ago the Cicerone drew the attention
to certain projccts relalive to the Wallraf-Richartz
Museum in Cologne. In the building of the mu-
seum is a cloister of llic i4 th century, which
would disappear should the building be torn down
as planned. Our statement of the rumour caused
some uneasiness. The city council of Cologne
thereupon found it necessary to assure us that
there was no thought of making any c.hanges.
It is also interesting to nole tliat the second Goethe
(the first hy F. C. Colbe was brought to light
again some months ago) after being stored for
ten years w ras again placed on show in the Museum.