DOI Heft:
Nr. 97 (March, 1905)
DOI Artikel:Oliver, Maude I. G.: German paintings and sculpture at the St. Louis exhibition
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.26959#0072
G7?V73t%7% ^7*/ 77. /.W/M
of kindliness, with the desire of educating the
public in regard to celebrated art productions
dealing with governmental affairs. Still, when one
considered that these huge canvases, with their
aggressive detail, forced attention and Axed the
standard of their surroundings, the wisdom of
such installation seemed questionable. The German
section had the advantage of about the finest
suite of galleries in the four buildings, and it
prohted by the employment of some of the fore-
most decorators of the day, in its selections of
colour schemes, and in its placing of exhibits,
which included many gems of the modern school.
Among the landscapes, one of the surest to
arrest attention was the sweet, tuneful essay entitled
AYZ.M'372 by E. Kubierschky.
This was a poetic treatment, with colour soft and
harmonious. It breathed the bleak, yet hopeful,
spirit of the season in
no uncertain manner.
Tim composition was
nicely felt, the interest
was happily centred,
and the distance was
intelligently described.
A strong, decisive bit
of work was observed
in the set of weather-
beaten stones beneath
the protecting arms of
a knot of stalwart oak-
trees in the subject
entitled aY
Z?/77<?-
Z/7^7*ZZZZ, by Franz
Hoffmann - Fallersle-
ben. The colourin this
painting was very dar-
ing and the technique
was quite remarkable.
Carl Kustner's
with its
cleverly modelled fore-
ground of snow, its
silent stream, into
which were reflected
rose-tinged clouds, was
an admirable work,
and thoroughly de-
served the interest
which it created.
Another landscape, of
quite an unusual sub-
ject, however, into
58
which entered a problem that had been excellently
rendered, was the Zp Azzaw,
from the brush of Victor Freudemann. Variety in
the composition was managed through the colour of
the newly decorated mounds in this city of the dead,
being contrasted with earlier graves, upon which
the snow had fallen. The fluent manner of Fritz
Baer was exemplified in his two canvases entitled
respectively and AZ7-77ty ZVg7M'72^ Z;
Two notable architectural
landscapes were shown in a couple of views of the
city of Dresden. The textures in these paintings,
especially in the handling of river, had been
skilfully managed.
Of the portrait subjects, the Lenbachs naturally
stood pre-eminent. There were five of these
works, two being loaned by private individuals.
These two represented entirely different phases in
' ADAM AND EVE
BY PETER BRENER
of kindliness, with the desire of educating the
public in regard to celebrated art productions
dealing with governmental affairs. Still, when one
considered that these huge canvases, with their
aggressive detail, forced attention and Axed the
standard of their surroundings, the wisdom of
such installation seemed questionable. The German
section had the advantage of about the finest
suite of galleries in the four buildings, and it
prohted by the employment of some of the fore-
most decorators of the day, in its selections of
colour schemes, and in its placing of exhibits,
which included many gems of the modern school.
Among the landscapes, one of the surest to
arrest attention was the sweet, tuneful essay entitled
AYZ.M'372 by E. Kubierschky.
This was a poetic treatment, with colour soft and
harmonious. It breathed the bleak, yet hopeful,
spirit of the season in
no uncertain manner.
Tim composition was
nicely felt, the interest
was happily centred,
and the distance was
intelligently described.
A strong, decisive bit
of work was observed
in the set of weather-
beaten stones beneath
the protecting arms of
a knot of stalwart oak-
trees in the subject
entitled aY
Z?/77<?-
Z/7^7*ZZZZ, by Franz
Hoffmann - Fallersle-
ben. The colourin this
painting was very dar-
ing and the technique
was quite remarkable.
Carl Kustner's
with its
cleverly modelled fore-
ground of snow, its
silent stream, into
which were reflected
rose-tinged clouds, was
an admirable work,
and thoroughly de-
served the interest
which it created.
Another landscape, of
quite an unusual sub-
ject, however, into
58
which entered a problem that had been excellently
rendered, was the Zp Azzaw,
from the brush of Victor Freudemann. Variety in
the composition was managed through the colour of
the newly decorated mounds in this city of the dead,
being contrasted with earlier graves, upon which
the snow had fallen. The fluent manner of Fritz
Baer was exemplified in his two canvases entitled
respectively and AZ7-77ty ZVg7M'72^ Z;
Two notable architectural
landscapes were shown in a couple of views of the
city of Dresden. The textures in these paintings,
especially in the handling of river, had been
skilfully managed.
Of the portrait subjects, the Lenbachs naturally
stood pre-eminent. There were five of these
works, two being loaned by private individuals.
These two represented entirely different phases in
' ADAM AND EVE
BY PETER BRENER