DOI issue:
No. 92 (October, 1904)
DOI article:Studio-talk
DOI Page / Citation link:https://doi.org/10.11588/diglit.26962#0452
Studio-Talk
effect of their poverty, but how it has penetrated to
the very core, for they seem thoroughly impregnated
with it. A Summer Night on the Beach is a daring,
and at the same time, successful attempt at colour-
isation. The rays of the setting sun tint every-
thing with a golden tinge, from the faces of the
pier passengers to the water, everything is cast in a
bath of light, the only relief being the shadows
round the wooden supports of the pier. Beim
Waschen (Washing Day) is a charming piece of
realism : one can almost smell the soapsuds and
feel the wind which is gently swaying the clothes
on the line to and fro ; behind are touches of red,
and the whole is breathing of the atmosphere
around it. In Der Tod und das Kind (Death and
the Child) we are face to face with another event
of daily occurrence. The tones are grey in grey :
the little one in the foreground is filled with in-
describable terror, knowing not what the figure lying
so still in the background means; but the fearful
coldness surrounding has infected the child, who
is supporting her head with both hands as if
to prevent it from assuming the rigid stiffness
of the dead woman seen in the background.
Among the other exhibitors are Ludwig von
Hoffmann (Weimar), Cuno Amiet (Switzerland),
Thorn Prikker (Ryswyk), Wilhelm Laage (Stuttgart),
Axel Gallen (Finland). There are also some pic-
tures by Hans von Marees, who died in 1887, and
whose merit lies in the fact that his was the initia-
tion of the line drawing, most of his works being in
the Royal Gallery in Schleisheim. A. S. L.
BUDAPEST.—Ten years ago what may
be called official art still flourished in
Hungary, the sort of thing the Emperor
William is so anxious to create in
Germany. The public—who were not then edu-
cated up to the idea that art may exist apart from
luxury—could not or would not encourage the
efforts of individual artists, so that such artists
depended entirely on State patronage, working
exclusively for government officials. Some few of
the wealthy municipalities did their best according
to their lights to encourage what they considered
good work, giving commissions for great historical
compositions; but in these art was by no means
the first consideration, the most important point
being the introduction of famous heroes, actual por-
traits of the ancestors of reigning families, whether
they had made their mark in the history of their
country or not.
(<
THE MARSH
BY BARON L. MEDNYANSZKY
effect of their poverty, but how it has penetrated to
the very core, for they seem thoroughly impregnated
with it. A Summer Night on the Beach is a daring,
and at the same time, successful attempt at colour-
isation. The rays of the setting sun tint every-
thing with a golden tinge, from the faces of the
pier passengers to the water, everything is cast in a
bath of light, the only relief being the shadows
round the wooden supports of the pier. Beim
Waschen (Washing Day) is a charming piece of
realism : one can almost smell the soapsuds and
feel the wind which is gently swaying the clothes
on the line to and fro ; behind are touches of red,
and the whole is breathing of the atmosphere
around it. In Der Tod und das Kind (Death and
the Child) we are face to face with another event
of daily occurrence. The tones are grey in grey :
the little one in the foreground is filled with in-
describable terror, knowing not what the figure lying
so still in the background means; but the fearful
coldness surrounding has infected the child, who
is supporting her head with both hands as if
to prevent it from assuming the rigid stiffness
of the dead woman seen in the background.
Among the other exhibitors are Ludwig von
Hoffmann (Weimar), Cuno Amiet (Switzerland),
Thorn Prikker (Ryswyk), Wilhelm Laage (Stuttgart),
Axel Gallen (Finland). There are also some pic-
tures by Hans von Marees, who died in 1887, and
whose merit lies in the fact that his was the initia-
tion of the line drawing, most of his works being in
the Royal Gallery in Schleisheim. A. S. L.
BUDAPEST.—Ten years ago what may
be called official art still flourished in
Hungary, the sort of thing the Emperor
William is so anxious to create in
Germany. The public—who were not then edu-
cated up to the idea that art may exist apart from
luxury—could not or would not encourage the
efforts of individual artists, so that such artists
depended entirely on State patronage, working
exclusively for government officials. Some few of
the wealthy municipalities did their best according
to their lights to encourage what they considered
good work, giving commissions for great historical
compositions; but in these art was by no means
the first consideration, the most important point
being the introduction of famous heroes, actual por-
traits of the ancestors of reigning families, whether
they had made their mark in the history of their
country or not.
(<
THE MARSH
BY BARON L. MEDNYANSZKY