International studio (16.1902)

Vienna Secession Exhibition

Ministry for Education. Here we have all grey-
blues in dark and light shades, relieved by the red-
striped dress and brilliant scarlet parasol of a girl
who has come to bargain. Behind are other buyers in
blue costumes. A number
of women are seated before
a row of tubs of butter
exposed for sale, bedded
in green leaves. Every
face is typical, the old
woman in the front for
whom the pleasures of
life are past, and the
young one next her who
is enjoying them. Then
comes the Salzburg Mar-
ket, also in grey blues,
and here, too, he has
caught the expressions
extremely well. All his
peasants differ, as do the
nations from which he
has taken his types.
Professor Baron Myr-
bach has only sent one
picture, a study of Firs,
which is finely painted
and cool and fresh to look
at. Julius Diez (Munich)
is at his best in the Will
o' the Wisp, of which the
ground colour is of
lavender-blue tinges, a
mist of the same colour
seeming to veil the whole.
Here grotesque men are
seated in the leafless
boughs of old gnarled
trees, laughing and smok-
lng. A second picture,
St. Hubert, has much in
common with the former
Picture as regards treat-
ment ; there are the same
Hvender - blues, but the
Hist is absent.
Friedrich Konig (Vienna) sends three pictures,
Afternoon Sun in a Forest, Seclusion, a hermit
landing near the most pleasant of hermitages, and
The Golden Bird, illustrative of Grimm’s fairy story.
^Icre we have dark fantastic greens, relieved by
the golden apples on the conventional fairy-story
tree, the bird sitting among its branches; and
the sun, falling through the leaves, lights up the

ground, seeming to relieve the darkness as a
curtain drawn back from a window. Carl Moll
(Vienna) has four landscapes, A Pine Forest,
Evening Sun, Twilight, and Evening, all painted
in the light feathery
manner for which this
artist is deservedly liked,
the Fine Forest being,
perhaps, the artist’s best
work. Ferdinand Schmut-
zer (Vienna) in his
Ge/reideschober (stacks of
corn), shows much origi-
nality of treatment and
fine technique. Fritz
Erler (Munich) in his The
Plague gives us a mass
of crude yellows. A
Garden Fete, by Adolf
Miinzer, has much that is
Spanish in it; nevertheless,
much that is new and in-
teresting ; while Erler’s
painting on wood of a
lady at an ebony piano
might be called a study
in white-and-black. Max
Eichler (Munich), A Day
in Autumn, is rich in
phantasy and design : as
one looks at it one seems
to see the figures in silent
robes moving about' in
the woods. Emil Orlik,
returned from his long
stay in Japan, shows some
excellent examples of his
Japanese work, and it
would be difficult to find
his equal in xylographs.
These wood-cuts are so rich
in colour and piquant in ex-
pression that one leaves
them with the feeling of
something fresh and
good. Mr. Orlik will
shortly give us an opportunity of seeing his produc-
tions en masse. Another illustrator of great taste and
originality is M. Liebenwein (Burghausen), who, in
his series of pictures illustrative of the Goose
Maiden, is at his best. The whole story is before
us, and depicted in a noble manner. There are
the geese, stalls, horses, cats, greyhounds, the
goose maiden, the witch from whom the knight
27 r


“THE SLEEP-WALKER” BY ALFONSO CANCIANI