Universitätsbibliothek HeidelbergUniversitätsbibliothek Heidelberg
Metadaten

International studio — 17.1902

DOI Heft:
No. 66 (August, 1902)
DOI Artikel:
Studio-talk
DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.22774#0180

DWork-Logo
Überblick
Faksimile
0.5
1 cm
facsimile
Vollansicht
OCR-Volltext
Studio- Talk

VIENNA SECESSION EXHIBITION—THE OUTER TEMPLE

DECORATED BY J. M. AUCHENTALLER,
F. ANDRI AND F. KOLNIG

us by this work, and therefore disagree in their
words of praise or blame. The cause is to be
seen in this, that the artist has created a work
for himself such as the French call “Tart pour
Part.” The whole impression of Klinger’s Beet-
hoven is so new, something to which we are so
entirely unaccustomed even in thought, that the
general impression is at first sight not an altogether
harmonious one.

In adopting the ntethods of the old Greek sculp-
tors the artist has employed many kinds of materials.
The nude figure is of white marble; the mantle,
falling across the knees in wonderfully graceful
folds, is of yellow agate. The throne is of

bronze, ornamented on the arm-rests with bands
of bright gold. The back rest is a ground of
blue enamel, while for the chorus of children
ivory is employed. The throne is poised on a
rock of grey granite, a black eagle with bronze
claws sits at the “ Master’s ” feet. The back
of the throne is ornamented with allegories
which are neither easy to understand nor to
explain. To the right are Adam and Eve, to the
left Tantalus, and in the middle a figure bearing
the features of Beethoven, standing between
Christian and heathen beauty.

Klinger’s Beethoven is one of the finest pieces of

142
 
Annotationen