International studio (21.1903/1904(1904))

.SY/z/z?- 7'zYY


Österman we must at once
admit that his portrait of
AZ*y. Z. unquestionably is
something far more than a
mere likeness. It is a
picture that whispers of the
many sorrows and disap-
pointments which, together
with the more rare moments
of light and happiness,
constitute a human life.
This picture is a work of
art of the highest quality.
The same may be said of
his portrait of CwyA Zi,
a picture of a man who
evidently also has "a life
behind him."

Among this artist's other
works it is only fair to
mention his excellent por-
trait of Z.,
a most admirable paint-
ing, possessing a great deal
of the ecclesiastical solem-
nity naturally pertaining
to episcopal dignity. His
portrait of the famous Nor-
wegen author ZA
gives us a charming ren-
dering of that well-known

to say which one of these two remarkable
brothers could be considered as possessing the
greater ability, the more conspicuous talent, or
the more characterising capacity in the art they
both follow. They appear not only to be twins
by birth; they seem to be twins even in all
other respects. In personal appearance they
are, in a truly astonishing degree, " doubles";
so much so, indeed, that their closest friends
very often mistake the one for the other.
And the same may be said in regard to
their pictures. Emil Österman is, however,
a little more of a wA/MV in his treatment
of colour than his brother, who, on the other
hand, seems to have a richer sentiment in
the study of his subjects; in other words, he
appears to be the keener psychologist of the
two. In other respects, neither of them can
fairly be said to be "the better man."
With regard to the productions of Bernhard