International studio (25.1905)

him, in his attempt not to let escape evidence of the
pleasure to himself with which everything was com-
posed. To know that we have amongst us a fine
artist of sufficient courage to paint his fancies for
their own sake, refusing to correct his art by any
standard but that of the pleasure which it gives him,
and to have in him a fastidious exquisite who closes
his lids to the ugly, and pretends that it does not
exist, is, indeed, refreshing among the various artistic
ideals of to-day. Mr. Conder gives to us, gives to
those who employ his genius, an escape into a
refinement of pleasure which for to-day has a
chosen message, and which in our time sets the
messenger apart as one who has refused to part with
his illusions. His art brings back to our memory
the pleasure of an hour departed. This is the
sentiment embodied in his designs ; it is part of
the delicate manner of his expression, and it lies
behind the remarkable colour that early brought
him into fame. All that his art is significant of
demands of it that it should be slight in execution ;
it could not give us its own intimate secret were
it not as elusive in execution as the scent of a
rose; for its secret is the same that the rose gives
us, that the wind brings us passing an instrument
of Strings. T. MARTIN WOOD.

T—^ROFESSOR LUDWIG DILL;
L^THE MAN AND HIS WORK.
1 BY L. VAN DER VEER.
IN modern German art the name of Professor
Ludwig Dill stands very high, yet so simple is his
life and so modest his nature that were he not
sought out from amongst his work, the world
outside would know little indeed of this landscape
idealist, this kindly natured man who only paints
what he feels, and who only feels what is great and
splendid in woodland and sky. His is the heart
of the poet, made visible to us through his personal
interpretation of nature.
Ludwig Dill was born in Gerusbach, near Baden-
Baden, on the 2nd of February, 1848, and was
educated in Stuttgart for the career of engineer
and architect. He served as an officer in the war
of 1870, and two years afterwards became a student
of art at the Academy in Munich, where he worked
with Piloty until 1874, when he received com-
missions for illustrated German papers to travel
through France, Italy and Switzerland. From
1877 until 1893, he made the most delightful
journeys to Venice and Holland for the sake of
studies to be used in more ambitious paintings,


" HUES IN THE MARSH

FROM A CHARCOAL DRAWING BY PROFESSOR LUDWIG DILL