International studio (16.1902)

Studio- Talk


“ LE BERGER ”

BY JEAN FRANCOIS MILLET

V

many followers, of whom Clemens von Pausinger
is one of the best known and most successful.
He was born in Salzburg, Austria, in 1855,
studied in Munich and then in Florence.
However, he did not find satisfaction in these
art centres, and at last came to Rome,
where he remained four years, and became
intimate with Hans von Maree, to whom he
confesses to owe much of his success. He
then went a second time to Munich, and entered
the studio of Pieglheim as a pupil. Here he
perfected himself in the technique of pastel
and soon launched out into the world, establish-
ing himself first in Graz, Styria, where he quickly
made a name for himself as pastel portraitist.
He produced here some very fine work, and was
entrusted with many commissions for portraits.
In Paris, von Pausinger found the best oppor-
tunities of studying the pastels of the eighteenth
century, particularly those of the French school.

IENNA. — Six
years ago the
Royal and Im-
perial “Museum
fur Kunst und Industrie ”
inaugurated reforms, and in
consequence was violently
attacked by a number of
traders in applied art.
The latter were opposed
to the new principles and
their forms of expression,
partly because they were “ new ”; partly from
the trade standpoint, because much that was
“ old ” was still in stock, and could be easily made
in the existing patterns; and, finally, because
they could not find buyers among the general
public of Vienna for the new productions. But in
the end matters proceeded here as elsewhere. The
new ideas made headway, and buyers turned to
those things which were the result of the
modern tendency.

But then came the inevitable — the most
annoying development that can happen to a good
cause. The novel, the “ modem,” became the
fashion, and an activity set in which has brought
discredit upon the best of things. Imitation set
in; the external characteristics of Otto Wagner, of
Olbrich, of Kolo Moser were seized upon; their
original ideas were done to death; their individual
methods of expression were openly plagiarised.
297

But he admires especially
the English portraits of
the last century. These
awakened in him the
greatest enthusiasm, and
their influence is visible in
his more recent work.

Amongst his work are
some genre pictures, for
which he selected most
suitable models, and which
have been reproduced by
Hanfstaengl, of Munich.
His Yum Yum, Postilion,
Papillon, Une Tasse de The,
En Autumn, are all char-
acteristic. We reproduce
the last-named as an espe-
cially good specimen of
pastel work.