DOI Heft:
No. 125 (July 1907)
DOI Artikel:Covey, Arthur Sinclair: The Venice Exhibition: Mr. Brangwyn's decorative panels in the British section
DOI Artikel:The coloured stencil drawings of Ludwig Jungnickel
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.28252#0037
L. Jungnickels Coloured Stencil Drawings
“THE MOWERS” (COLOURED STENCIL DRAWING)
BY LUDWIG JUNGNICKEL
the panel. He has chosen some figures in the act
of loading and unloading boats laden with wine,
vegetables, and fruits. In this I find a strong
pattern which m its largeness of masses would
support the heaviest of architecture with sufficient
incident and minor notes to prevent the whole thing
from being cumbersome.
The two remaining subjects, which treat of British
subjects, occupy positions at either end of the room,
and are much smaller than the Venetian composi-
tions. This change in the character of the motifs is
not so apparent as the colour scheme, and the deco-
rative treatment is quite similar in the whole set.
The two subjects Steel Workers and Agricultural
Labourers are not new to Mr. Brangwyn, but in the
latter he seems to me to strike a new note. Four
figures are seen picking cabbages in the cool grey
light of early morning. A mist seems to envelop
them, giving the whole a sense of reality which is
tnost refreshing, at the same time taking its place
>n perfect harmony with the remaining panels. The
Steel Workers is painted in the same scheme of
greyish-blue and gold. Two half-nude figures are
seen pushing a truckload of ore, and the power
suggested is tremendous, emphasised by the line
and the arrangement of masses in the composition,
which as I have before suggested always does more
towards bringing out the spirit of the thing in a
Brangwyn composition than does any incident or
incidents occurring in the picture.
These elements are without doubt the most
personal in all the phases of the work of this
versatile artist, and I believe that most painters
and sculptors will agree that they are the most
powerful means placed in the hands of the artist.
The pictures shown in the British room are
representative, and the number has been kept in pro-
portion to the space allotted, considerable wall space
beinggiven to each picture. The English visitor atthe
Venice Exhibition this summer should be gratified
not only at the excellence of the work shown, but the
tasteful manner in which the pictures have been
hung, as well as by the fine aspect which the room
itself presents. Arthur S. Covey.
The coloured stencil
DRAWINGS OF LUDWIG
JUNGNICKEL.
In a recent number of The Studio, a brief
account was given of the Imperial Arts and Crafts
Schools (Kunstgewerbeschulen) at Vienna, and in
, 21
“THE MOWERS” (COLOURED STENCIL DRAWING)
BY LUDWIG JUNGNICKEL
the panel. He has chosen some figures in the act
of loading and unloading boats laden with wine,
vegetables, and fruits. In this I find a strong
pattern which m its largeness of masses would
support the heaviest of architecture with sufficient
incident and minor notes to prevent the whole thing
from being cumbersome.
The two remaining subjects, which treat of British
subjects, occupy positions at either end of the room,
and are much smaller than the Venetian composi-
tions. This change in the character of the motifs is
not so apparent as the colour scheme, and the deco-
rative treatment is quite similar in the whole set.
The two subjects Steel Workers and Agricultural
Labourers are not new to Mr. Brangwyn, but in the
latter he seems to me to strike a new note. Four
figures are seen picking cabbages in the cool grey
light of early morning. A mist seems to envelop
them, giving the whole a sense of reality which is
tnost refreshing, at the same time taking its place
>n perfect harmony with the remaining panels. The
Steel Workers is painted in the same scheme of
greyish-blue and gold. Two half-nude figures are
seen pushing a truckload of ore, and the power
suggested is tremendous, emphasised by the line
and the arrangement of masses in the composition,
which as I have before suggested always does more
towards bringing out the spirit of the thing in a
Brangwyn composition than does any incident or
incidents occurring in the picture.
These elements are without doubt the most
personal in all the phases of the work of this
versatile artist, and I believe that most painters
and sculptors will agree that they are the most
powerful means placed in the hands of the artist.
The pictures shown in the British room are
representative, and the number has been kept in pro-
portion to the space allotted, considerable wall space
beinggiven to each picture. The English visitor atthe
Venice Exhibition this summer should be gratified
not only at the excellence of the work shown, but the
tasteful manner in which the pictures have been
hung, as well as by the fine aspect which the room
itself presents. Arthur S. Covey.
The coloured stencil
DRAWINGS OF LUDWIG
JUNGNICKEL.
In a recent number of The Studio, a brief
account was given of the Imperial Arts and Crafts
Schools (Kunstgewerbeschulen) at Vienna, and in
, 21