DOI issue:
Nr. 107 (January, 1906)
DOI article:Studio-talk
DOI Page / Citation link: https://doi.org/10.11588/diglit.26961#0351
Studio-Talk
MODELLED F1GURE BY HENRY LINDER
and gave to a grateful audience his conception of
the decorative artist’s work, in “Tristan and Isolde.”
The severance of Mr. Craig’s connection with the
Deutsches Theater, Berlin, almost immediately
after signing an agreement, has also aroused general
interest. Mr. Craig’s dictum is, that the scenic
artist is the chief man in the production of
a play, not the dramatist. The artist takes the
play as he conceives it to be, and from this evolves
the costumes, scenery, and everything, to the
smallest detail, that is necessary for the “Stimmung.”
Important as the function of the artist is, however,
few will agree with Mr. Craig in giving the author
a subordinate position.
Mr. Craig was already known in Vienna, for
he was the artist for Hugo von Hofmannsthal’s
“ Electra ” which was played by Herr Reinhardt’s
Berlin Company at the Volks Theater, Vienna, this
year. The decorations were a source of great
pleasure to all. That the artist is appreciated in
Vienna is sure, for Herr Hermann Bahr, the well-
known dramatist and critic,. gave a lecture on
“ Gordon Craig” at the Art Gallery, and the
audience was chiefly composed of prominent
artists and critics. A. S. L.
NEW YORK.—A sculptorwho is satisfied
with being called an artist-artisan is
still a rarity in this country. Henry
Linder is one of the few exceptions.
He fashions andirons, candlesticks, holy-water
basins, electric-light fonts, and figures for mantel-
pieces—and his works have the beauty and sincerity
of honest craftsmanship.
Linder is naif and mystic, and yet tinged with a
melancholy, modern and peculiarly his own. His
art is a quaint combination of the Gothic style and
that of Part nouveau. He looks upon life with
the eyes of the contemporaries of Adam Krafft and
Veit Stoss. For him citizens of old Nurernberg
walk the streets of New York at night. The old
dreams haunt his imagination. He lives among
CANDELABRUM BY HENRY LINDER
273
MODELLED F1GURE BY HENRY LINDER
and gave to a grateful audience his conception of
the decorative artist’s work, in “Tristan and Isolde.”
The severance of Mr. Craig’s connection with the
Deutsches Theater, Berlin, almost immediately
after signing an agreement, has also aroused general
interest. Mr. Craig’s dictum is, that the scenic
artist is the chief man in the production of
a play, not the dramatist. The artist takes the
play as he conceives it to be, and from this evolves
the costumes, scenery, and everything, to the
smallest detail, that is necessary for the “Stimmung.”
Important as the function of the artist is, however,
few will agree with Mr. Craig in giving the author
a subordinate position.
Mr. Craig was already known in Vienna, for
he was the artist for Hugo von Hofmannsthal’s
“ Electra ” which was played by Herr Reinhardt’s
Berlin Company at the Volks Theater, Vienna, this
year. The decorations were a source of great
pleasure to all. That the artist is appreciated in
Vienna is sure, for Herr Hermann Bahr, the well-
known dramatist and critic,. gave a lecture on
“ Gordon Craig” at the Art Gallery, and the
audience was chiefly composed of prominent
artists and critics. A. S. L.
NEW YORK.—A sculptorwho is satisfied
with being called an artist-artisan is
still a rarity in this country. Henry
Linder is one of the few exceptions.
He fashions andirons, candlesticks, holy-water
basins, electric-light fonts, and figures for mantel-
pieces—and his works have the beauty and sincerity
of honest craftsmanship.
Linder is naif and mystic, and yet tinged with a
melancholy, modern and peculiarly his own. His
art is a quaint combination of the Gothic style and
that of Part nouveau. He looks upon life with
the eyes of the contemporaries of Adam Krafft and
Veit Stoss. For him citizens of old Nurernberg
walk the streets of New York at night. The old
dreams haunt his imagination. He lives among
CANDELABRUM BY HENRY LINDER
273