DOI Heft:
Nr. 126 (August 1907)
DOI Artikel:Studio-talk
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.28252#0170
Studio-Talk
old Gobelin tapestry back-
ground, the pose and
general arrangement
showed the influence of
the old English masters of
the eighteenth century,
especially Gainsborough.
Arthur von Ferraris’s two
portraits were good exam-
ples of this artist’s methods.
Victor Scharf’s profile por-
trait of a gentleman sitting
in an old armchair is a
dignified work, the expres-
sive and characteristic
features being delineated
with that intimacy which
is peculiar to this artist.
His portrait of a young
lady in a sealskin jacket,
too, was excellent as a study
in browns. W. V. Krausz’s
portrait of a lady, Frau K.,
showed a marked advance
on his earlier work. As a
portrait it is extremely
good, and the delicate sheen
of the yellow and blue shot
silk gown is admirably ren-
dered. Paul Joanowitch,
Hans Larwin, Karl F. Gsur,
and Edward Veith were
all well represented, as were
Heinrich Rauchinger and Kasimir Pochwalski.
PORTRAIT OF A I.ADY
There were many good landscapes — Hans
Ranzoni, M. Suppantschitsch, Eduard Kasparides,
Josef Jungwirth, Karl O’Lynch of Town, Heinrich
Tomec, Ferdinand Brunner and other well-known
artists being represented by characteristic works.
Hugo Darnaut’s Pond in the Wood is one of his
favourite motives: a pond with tall reeds, blown
hither and thither by the winds, in the background
tall trees through which the light is thrown and re-
flected on the stagnant water. Eduard Zetsche
exhibited some of those charming scenes of country
life in Austrian villages, with which he has made
himself so intimately acquainted. Eduard Ameseder
showed a decorative painting of a piece of water
with ducks swimming near the land. Nikolaus
Schattenstein’s large picture Rotnische Lieder gained
many admirers. Nine persons, life-sized, are
shown sitting on the grass, playing the guitar and
154
BY W. VICTOR KRAUSZ
making love; behind are trees. The colouring, as
becomes the subject, is very vivid, the attitudes
of the figures easy and graceful. This artist
also contributed some good portraits. Otto
Henschel’s Before the Toilette testified to the
great advance which this young artist has
made of late, both in colouring and composi-
tion ; he is on the right path, and will find what he
is seeking. Rudolf Quittner’s Die Reise is a daring
work. It is a triptych, the centre panel of which
shows an interior with a medley of travelling im-
pedimenta strewn about pell-mell, while the left-
hand panel gives a glimpse of the train which
apparently is carrying the travellers to their destina-
tion, represented by the landscape shown in the
right-hand panel. Every possible colour is given,
yet each seems to tone well with the rest. Isidor
Kaufmann, the well-known painter of Jewish types,
only sent one picture, Jom Kippur (The Day of
Atonement) ; a picture representing a young bride,
old Gobelin tapestry back-
ground, the pose and
general arrangement
showed the influence of
the old English masters of
the eighteenth century,
especially Gainsborough.
Arthur von Ferraris’s two
portraits were good exam-
ples of this artist’s methods.
Victor Scharf’s profile por-
trait of a gentleman sitting
in an old armchair is a
dignified work, the expres-
sive and characteristic
features being delineated
with that intimacy which
is peculiar to this artist.
His portrait of a young
lady in a sealskin jacket,
too, was excellent as a study
in browns. W. V. Krausz’s
portrait of a lady, Frau K.,
showed a marked advance
on his earlier work. As a
portrait it is extremely
good, and the delicate sheen
of the yellow and blue shot
silk gown is admirably ren-
dered. Paul Joanowitch,
Hans Larwin, Karl F. Gsur,
and Edward Veith were
all well represented, as were
Heinrich Rauchinger and Kasimir Pochwalski.
PORTRAIT OF A I.ADY
There were many good landscapes — Hans
Ranzoni, M. Suppantschitsch, Eduard Kasparides,
Josef Jungwirth, Karl O’Lynch of Town, Heinrich
Tomec, Ferdinand Brunner and other well-known
artists being represented by characteristic works.
Hugo Darnaut’s Pond in the Wood is one of his
favourite motives: a pond with tall reeds, blown
hither and thither by the winds, in the background
tall trees through which the light is thrown and re-
flected on the stagnant water. Eduard Zetsche
exhibited some of those charming scenes of country
life in Austrian villages, with which he has made
himself so intimately acquainted. Eduard Ameseder
showed a decorative painting of a piece of water
with ducks swimming near the land. Nikolaus
Schattenstein’s large picture Rotnische Lieder gained
many admirers. Nine persons, life-sized, are
shown sitting on the grass, playing the guitar and
154
BY W. VICTOR KRAUSZ
making love; behind are trees. The colouring, as
becomes the subject, is very vivid, the attitudes
of the figures easy and graceful. This artist
also contributed some good portraits. Otto
Henschel’s Before the Toilette testified to the
great advance which this young artist has
made of late, both in colouring and composi-
tion ; he is on the right path, and will find what he
is seeking. Rudolf Quittner’s Die Reise is a daring
work. It is a triptych, the centre panel of which
shows an interior with a medley of travelling im-
pedimenta strewn about pell-mell, while the left-
hand panel gives a glimpse of the train which
apparently is carrying the travellers to their destina-
tion, represented by the landscape shown in the
right-hand panel. Every possible colour is given,
yet each seems to tone well with the rest. Isidor
Kaufmann, the well-known painter of Jewish types,
only sent one picture, Jom Kippur (The Day of
Atonement) ; a picture representing a young bride,