DOI Heft:
No. 66 (August, 1902)
DOI Artikel:Studio-talk
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.22774#0182
Studio-Talk
Grosvenor Thomas ably illustrated the develop-
ment in the capital of the British Isles of the
impressionist style. The exhibits of a group of
Norwegian painters, imbued with a love of the
mystic and symbolic — notably Edward Murich,
who paints in the style of Willennsen and Maurice
Denis—with those of the old-fashioned Belgian
sculptor, George Kinne, are especially noticeable
amongst their eminently naturalistic surroundings.
Max Klinger’s Head of Liszt, and a coloured
marble Bust of the authoress Ascinieff, had already
at the last Dresden Exhibition won recognition as
good examples of his work, which, though always
charming, can scarcely be said ever to attain to the
ideal. The grand group of sculpture by the great
French master, Auguste Rodin, full, as is every-
thing from his hand, of virile force, stood con-
spicuously out amongst the comparatively mediocre
plastic work of the exhibition.
The Munich masters, Fritz von Uhde, H. Zeigel,
T. T. Heine, Habermann, H. Schramm-Zittau,
with Leopold Count Kalckreuth and Hans Thoma,
who work at Stuttgart, and H. von Volkmann, who
resides at Karlsruhe, were also well represented.
Amongst the Berlin artists may be specially named
Ulrich Hiibner, Robert Breyer, Gustav Haeger,
Hermann, Fritz Klein, and Martin Brandenburg.
L. K.
RESDEN.—Mr. Johannes Ufer, whose
water-colour of Seamstresses we re-
produce in this number, is one
of the most talented pupils of Pro-
fessor Kuehl at the Dresden Academy Schools.
At the advice of his teacher he has chosen the
water-colour technique as his specialty, it being a
medium not much cultivated here.
Mr. Ufer gives his aquarelles a brilliancy and
richness of colouring that make them appear at
first sight like oil-paintings. Whether this is to be
praised unreservedly is a matter of doubt. It
heightens, at any rate, the pictorial effect of his
usually large sized work.
Some of the best of Mr. Ufer’s pictures are the
result of a sketching tour in Hungary and other
Austrian borderlands. A picture of the Market-
“ SEAMSTRESSES
144
FROM A WATERCOLOUR BY JOHANNES UFER
Grosvenor Thomas ably illustrated the develop-
ment in the capital of the British Isles of the
impressionist style. The exhibits of a group of
Norwegian painters, imbued with a love of the
mystic and symbolic — notably Edward Murich,
who paints in the style of Willennsen and Maurice
Denis—with those of the old-fashioned Belgian
sculptor, George Kinne, are especially noticeable
amongst their eminently naturalistic surroundings.
Max Klinger’s Head of Liszt, and a coloured
marble Bust of the authoress Ascinieff, had already
at the last Dresden Exhibition won recognition as
good examples of his work, which, though always
charming, can scarcely be said ever to attain to the
ideal. The grand group of sculpture by the great
French master, Auguste Rodin, full, as is every-
thing from his hand, of virile force, stood con-
spicuously out amongst the comparatively mediocre
plastic work of the exhibition.
The Munich masters, Fritz von Uhde, H. Zeigel,
T. T. Heine, Habermann, H. Schramm-Zittau,
with Leopold Count Kalckreuth and Hans Thoma,
who work at Stuttgart, and H. von Volkmann, who
resides at Karlsruhe, were also well represented.
Amongst the Berlin artists may be specially named
Ulrich Hiibner, Robert Breyer, Gustav Haeger,
Hermann, Fritz Klein, and Martin Brandenburg.
L. K.
RESDEN.—Mr. Johannes Ufer, whose
water-colour of Seamstresses we re-
produce in this number, is one
of the most talented pupils of Pro-
fessor Kuehl at the Dresden Academy Schools.
At the advice of his teacher he has chosen the
water-colour technique as his specialty, it being a
medium not much cultivated here.
Mr. Ufer gives his aquarelles a brilliancy and
richness of colouring that make them appear at
first sight like oil-paintings. Whether this is to be
praised unreservedly is a matter of doubt. It
heightens, at any rate, the pictorial effect of his
usually large sized work.
Some of the best of Mr. Ufer’s pictures are the
result of a sketching tour in Hungary and other
Austrian borderlands. A picture of the Market-
“ SEAMSTRESSES
144
FROM A WATERCOLOUR BY JOHANNES UFER