DOI Heft:
No. 125 (July 1907)
DOI Artikel:Studio talk
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.28252#0092
Studio-Talk
sensationalism has been studiously suppressed.
Neither in the picture called Homeless, nor in that in
which the young artist presents to our view a group
of unhappy people who have just emerged from the
horrors of a “pogrom,” is there any attempt to
import dramatic gesture or to show signs of poig-
nant anguish in the features of the creatures de-
picted. Has he not, on the contrary, by investing
his characters with a stolid calm, and concentrated
resignation, given a far more striking and suggestive
effect than any tragic, passionate presentation could
produce ? The artist’s intense psychological vision
enables us to discern in the faces we see in his
pictures a consciousness of wrongs endured and
hopelessness for the future. It is, indeed, a matter
of surprise to find so youthful an artist gifted with
the power of expressing human pathos with such
sincere feeling and such artistic restraint.
there. On finishing the course there she was
awarded a special stipend, which enabled her to
come to Vienna and study porcelain manufacture
and design under Prof. Linke. She now, however,
devotes her whole attention to sculpture, and shows
marked talent in th's direction. A. S. L.
WARSAW.—It by no means frequently
happens that the appearance of
works by a hitherto unknown
artist on the walls of the permanent
exhibition of the Warsaw Society of Fine Art is
regarded as an artistic event. And still more
rarely, perhaps, does it happen that politico-social
incidents, which are fresh in the memory of every-
one living and have not yet been subjected to the
sobering influence of time, come to be embodied
in works of art. An instance of this unusual
conjunction of actnalite
and genuine artistic per-
ception is furnished by
the paintings, here repro-
duced, of Maurice Min-
kowski, a quite young
Polish painter of Jewish
origin.
The motifs for these
paintings were afforded by
the barbarities perpetrated
in the course of “ pog-
roms ” at Bialystok and
Siedlce, atrocities which
have called forth a cry of
horror from the whole
civilised world. As an
artist, however, endowed
with the instincts and feel-
ings of an artist, Minkow-
ski has naturally avoided
the lurid presentation of a
newspaper reporter, and
has refrained from upset-
ting our nerves with pic-
tures dripping with blood.
The sufferings of his co-
religionists have, of course,
made a deep impression
on his mind, but his
strong emotion has found
vent in broadly - treated
genre paintings and draw-
ings, in which anything
savouring of theatrical
76
“ HOMELESS
BY MAURICE MINKOWSKI
sensationalism has been studiously suppressed.
Neither in the picture called Homeless, nor in that in
which the young artist presents to our view a group
of unhappy people who have just emerged from the
horrors of a “pogrom,” is there any attempt to
import dramatic gesture or to show signs of poig-
nant anguish in the features of the creatures de-
picted. Has he not, on the contrary, by investing
his characters with a stolid calm, and concentrated
resignation, given a far more striking and suggestive
effect than any tragic, passionate presentation could
produce ? The artist’s intense psychological vision
enables us to discern in the faces we see in his
pictures a consciousness of wrongs endured and
hopelessness for the future. It is, indeed, a matter
of surprise to find so youthful an artist gifted with
the power of expressing human pathos with such
sincere feeling and such artistic restraint.
there. On finishing the course there she was
awarded a special stipend, which enabled her to
come to Vienna and study porcelain manufacture
and design under Prof. Linke. She now, however,
devotes her whole attention to sculpture, and shows
marked talent in th's direction. A. S. L.
WARSAW.—It by no means frequently
happens that the appearance of
works by a hitherto unknown
artist on the walls of the permanent
exhibition of the Warsaw Society of Fine Art is
regarded as an artistic event. And still more
rarely, perhaps, does it happen that politico-social
incidents, which are fresh in the memory of every-
one living and have not yet been subjected to the
sobering influence of time, come to be embodied
in works of art. An instance of this unusual
conjunction of actnalite
and genuine artistic per-
ception is furnished by
the paintings, here repro-
duced, of Maurice Min-
kowski, a quite young
Polish painter of Jewish
origin.
The motifs for these
paintings were afforded by
the barbarities perpetrated
in the course of “ pog-
roms ” at Bialystok and
Siedlce, atrocities which
have called forth a cry of
horror from the whole
civilised world. As an
artist, however, endowed
with the instincts and feel-
ings of an artist, Minkow-
ski has naturally avoided
the lurid presentation of a
newspaper reporter, and
has refrained from upset-
ting our nerves with pic-
tures dripping with blood.
The sufferings of his co-
religionists have, of course,
made a deep impression
on his mind, but his
strong emotion has found
vent in broadly - treated
genre paintings and draw-
ings, in which anything
savouring of theatrical
76
“ HOMELESS
BY MAURICE MINKOWSKI