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Spitzweg Serenade
Aus der Versteigerung der Sammlung Max Böhm-Berlin arn 28. Januar 1951 hei Rud. Lepke in Berlin
E N G L I S H SUPPLEMENT
ERWIN ROSENTHAL: MARZELL YON
NEMES
In Hungary Marzell von Nemes’ narne will live on
in his gifts and foundations, a man, wliose youth
was filled only witli the highest aims, and who,
after he became financially independent, turned
his energies to art collecting. The rapidity, with
which he gathered together his collections, mighl
seem overwhclming to the average person, but an
astonishing artistic talent directed this feverish
activity. There was scarcely any field of art in
whfch lie did not become interested, but his pas-
sion directed itself principally toward French im-
pressionism, gothic velvets and antique glass. He
was in fact primarily a painter and it was in colour
that he sought to find the expression of life. This
is wliat caused him to endeavour lo express himself
with the brush and here it was that he soon devel-
oped his own palette. ITe sketched as a master and
his palette was artistically mature, but lie never
did any academic work which might have given
his works a forrnal assurance.
Academic training, however, would have had no
value for him. Ile could discuss Titian, Greeo or
Rubens in detail and one felt that he had found
an entrance to the artistic being of the master,
wliich was not open to other humans. To-day we
forget too easily that this very affinity it was.
which drew him to Courbet and Manet, to Cezanne
and Renoir, hefore they had become grcat, that
he collected Greco’s when only a few had any-
thing to say of this artist’s mystical colouring,
and that he bouglit those fine portraits of men
from the old English school at a time when others
were considering only the portraits of women.
lt is true that at times he had to sell the larger
part of his collection, but people who scoff at
this mixture of collecting and speculating have
not been able to gage his spontaneous individuality
properly. In accordance with his extraordinary
aims his life was guided by its own laws. This
naturally led to isolation at least externally. His
energy he expended for others. He himself stood
alone, but in the depth of his being there was a
kindness, whieh anyone coming in contact wilb
hhn could feel.
A short time ago Kokoschka endeavoured to paint
a portrait of the deceased, but it is difficult to
reproduce features vv rhose chief characteristic lies
in inner tension expressed and in animation.
MAX I. FRIEDLAENDER: THE PER-
SONALITY OF JAN GOSSART
Gossart vvas in Rome — i5o8. The first and
immediate result of tlhs visit vvas evident less in
thc subject matter of his pictures than in thc
ß9
Aus der Versteigerung der Sammlung Max Böhm-Berlin arn 28. Januar 1951 hei Rud. Lepke in Berlin
E N G L I S H SUPPLEMENT
ERWIN ROSENTHAL: MARZELL YON
NEMES
In Hungary Marzell von Nemes’ narne will live on
in his gifts and foundations, a man, wliose youth
was filled only witli the highest aims, and who,
after he became financially independent, turned
his energies to art collecting. The rapidity, with
which he gathered together his collections, mighl
seem overwhclming to the average person, but an
astonishing artistic talent directed this feverish
activity. There was scarcely any field of art in
whfch lie did not become interested, but his pas-
sion directed itself principally toward French im-
pressionism, gothic velvets and antique glass. He
was in fact primarily a painter and it was in colour
that he sought to find the expression of life. This
is wliat caused him to endeavour lo express himself
with the brush and here it was that he soon devel-
oped his own palette. ITe sketched as a master and
his palette was artistically mature, but lie never
did any academic work which might have given
his works a forrnal assurance.
Academic training, however, would have had no
value for him. Ile could discuss Titian, Greeo or
Rubens in detail and one felt that he had found
an entrance to the artistic being of the master,
wliich was not open to other humans. To-day we
forget too easily that this very affinity it was.
which drew him to Courbet and Manet, to Cezanne
and Renoir, hefore they had become grcat, that
he collected Greco’s when only a few had any-
thing to say of this artist’s mystical colouring,
and that he bouglit those fine portraits of men
from the old English school at a time when others
were considering only the portraits of women.
lt is true that at times he had to sell the larger
part of his collection, but people who scoff at
this mixture of collecting and speculating have
not been able to gage his spontaneous individuality
properly. In accordance with his extraordinary
aims his life was guided by its own laws. This
naturally led to isolation at least externally. His
energy he expended for others. He himself stood
alone, but in the depth of his being there was a
kindness, whieh anyone coming in contact wilb
hhn could feel.
A short time ago Kokoschka endeavoured to paint
a portrait of the deceased, but it is difficult to
reproduce features vv rhose chief characteristic lies
in inner tension expressed and in animation.
MAX I. FRIEDLAENDER: THE PER-
SONALITY OF JAN GOSSART
Gossart vvas in Rome — i5o8. The first and
immediate result of tlhs visit vvas evident less in
thc subject matter of his pictures than in thc
ß9