International studio (25.1905)

The tourist could not wish for a better stretch of
country, but how about the artist ? No doubt
many besides myself have asked themselves that
question as they enjoyed the beauties of nature up
yonder. It seems as if great panoramas, and
especially panoramas taken from a high stand-
point, do not yield themselves to artistic treat-
ment ; at least, they do not appeal to the artists
of our day in a manner to allow them to do
much with them. Thus one of the principal fasci-
nations of the place must be ruled out. As a
matter of fact, up till now no artist has compassed
the Riesengebirge as a field for landscape art.
Numberless men have done "views" of the
Riesengebirge, romantic or conscientious as the
case may be, unimportant always. Some good
artists have painted landscapes up there, but there
was nothing distinctively " Riesengebirge " about
them. Without some indication to the effect in
the title nobody would have recognised the pictures
as " Riesengebirge " subjects.
Fischer was the first true artist—within my
knowledge at least—to make a conquest of the
Riesengebirge, from an artist's point of view,
and these drawings are the remarkable stages of
his victories. One can readily understand how
this country, with its long-drawn lines, its broad,

unbroken surfaces of simple grandeur, would
appeal to an artist of his inclinations more than
to any other. One would be likely, upon a little
consideration, to expect much from him here, and
yet he has surpassed expectation. There is no
false romanticism apparent anywhere. We do not
see him content with giving a " view " of the place
he depicts. Neither the many literary nor the
historical recollections, in which the mountains
abound, wile him away from his true aim. He
does not allow himself to become entangled into
an admiration of the many wonders of Nature he
may have witnessedand what with her storm-
winds, her seas of clouds, her freaks of light
and lightning, she perfects many enough up there.
Once for all, his sole object is to present the
artistic phases of Nature as she discloses herself
in the Riesengebirge. There is neither romance
nor chronicle in these drawings : they are subject
for sensuous enjoyment alone — for a sensuous
enjoyment, moreover, that is of the highest possible
order.
Splendid harmonies of colour are to be found
among these drawings. There are wonderful
skies, with a white haze covering the azure like
a veil. Near the horizon it has already condensed
to a strip of cloud, and in a couple of hours


"ISLAND ON THE ELBE" FROM THE DRY POINT BY OTTO FISCHER

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