International studio (16.1902)

Vienna Secession Exhibition

must save her, all living before us. There is much
phantasy, but Nature predominates. The veteran
artist, Rudolf von Alt, now in his 93rd year, shows
us, in his Goisern, painted last year, that his hand
has not lost its cunning. Strange that the oldest ot
living artists should join the new school, of which
he is the honorary President. His Pantheon in
Rome (1873) is his masterpiece.
There are many good pieces of sculpture.
A. Canciani, in his Sleep-Walker, has accomplished
a noble piece of work. It is intended for a grave-
stone. The quiet, sleeping figure stands, head
bent slightly back, and the face full of ecstasy,
which seems to shine through the closed lids.
Max Kruse (Berlin) has a marble bust of Nietzche
■—Nietzche as he appeared when recovering from
his illness, the face thin from suffering, thought
expressed in every line. The deep - set eyes,
the over-hanging eyebrows, the small ears, the
noble nose and mouth are wonderfully depicted.
The great thinker—whose conclusion, “ God has
promised more than He can perform ” seems
true as regards himself—lives again in this marble.
Ilse Conrat, a pupil of Van der Stappen, shows
a remarkable talent in one so young—she is only
twenty-three—and one may expect great things
from her. Her Girl with
Wet Hair is a full-life
nude figure of a young
girl bending to gather
her wet hair together
after her bath. In the
anatomy of the figure and
in its position she shows
knowledge of true art;
and whatever her present
want of individuality may
be, true feeling and warmth
are still lurking in her work.
Another young artist, Elsa
v. Kalmar, in Longing,
shows a great advance on
previous work. This artist
is rich in ideas, so rich
that they seem to over-
flow into one another,
and she also possesses
true feeling for plastic
art. Professor Hellmer
(Vienna), in his figure of
the Globe, gives us all the
sensations to which man
may be subject: he bears
all the cares of the world “butter women

on his shoulders. Four bronze figures repre-
senting the elements support the statue. The
whole is full of character, energy, and decoration.
Ignatius Taschner (Munich) also exhibits, in his
Wanderer, a work full of character and energy.
There is a wonderful swing in this wanderer as
he goes along his way, in spite of the weariness in
his expressive features.
Applied art is shown in some ornaments, a silver
table service, glass, pottery, and in a design for
a gobelin for a wall decoration, designed by
Edmund and Rosalie Rothansl, and executed by
Frau Leopoldine Guttmann (Vienna) in her school
for handweaving—a capital piece of work, both in
design and carrying out. Whether Professor Josef
Hoffmann’s silver service would find many admirers
in England is doubtful. Some of it is very heavy,
especially the larger knives and forks, while the
shovel-shaped spoons would probably not be
popular. A silver dessert-stand on a high,
graceful foot is both decorative and original, and
a charming piece of work. Kolo Moser’s high-
stemmed glasses grow upon one, and we are always
glad to see them. Those shown here are among
his best work. As usual, they have been executed
by S. Bakalovitz (Vienna). Baroness Falke’s work

BY FERDINAND ANDR1


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