DOI Heft:
No. 127 (September, 1907)
DOI Artikel:Bentz, F.: The Mannheim tercentenary exhibition
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.28252#0205
The Mannheim Tercentenary Exhibition
T
HE MANNHEIM TERCEN-
TENARY EXHIBITION.
This exhibition is a combination of
painting, sculpture, domestic architecture and
aesthetic garden construction, admirably carried
out by a committee working with a mutual aim,
and who have also avoided the danger of being
too extreme. A large portion of the buildings are
to remain as permanent picture galleries, and this
has warranted the use of costly materials in their
construction.
The entrance hall, staircase and walls are of
dark marble, the massive columns of a light
striated variety, the doors, wickets and ornaments
are of polished and beaten brass. The vestibule is
a little dark, but rich in tone, and is relieved by
spaces through which one gets glimpses of the large
hall with its soft warm ivory colour shading into gold
towards the ceiling nearly a hundred feet above. It
is fitting that the largest canvases are placed here,
the biggest among them being Melville’s enormous
sketch, The Return from the Crucifixion, faced by
Egger-Lienz’s Peasant Pilgrims.
It is becoming more and more a recognised fact
that a picture in the process of creation is strongly
influenced by its surroundings, and when finished
depends for its effects fully as much on its environ-
ment as on its intrinsic beauty ; it must be in unison
and harmony with its entourage. In Mannheim,
Professor Dill and his colleagues have succeeded
in placing together those works which, quite
irrespective of nationality, form a colour scheme
in complete harmony with each other and the room
in which they are hung. Moreover, the larger halls
are divided into cabinets by projecting divisions,
and these are seldom larger than an ordinary living
room, but each compartment is separated from the
influence of the next, and is complete in itself. At
the same time the screens do not project so far, nor
are they so high as to destroy the impression of the
whole flower of which they are the petals. Nearly
all the rooms are lit from the top, and the walls are
hung with delicate silk, linen, coarse jute or other
stuffs, the result producing variety of surface as
well as of colour. To ensure the right milieu some
rooms have been been decorated by the artists them-
selves. One by Benno Becker is hung in black
T
HE MANNHEIM TERCEN-
TENARY EXHIBITION.
This exhibition is a combination of
painting, sculpture, domestic architecture and
aesthetic garden construction, admirably carried
out by a committee working with a mutual aim,
and who have also avoided the danger of being
too extreme. A large portion of the buildings are
to remain as permanent picture galleries, and this
has warranted the use of costly materials in their
construction.
The entrance hall, staircase and walls are of
dark marble, the massive columns of a light
striated variety, the doors, wickets and ornaments
are of polished and beaten brass. The vestibule is
a little dark, but rich in tone, and is relieved by
spaces through which one gets glimpses of the large
hall with its soft warm ivory colour shading into gold
towards the ceiling nearly a hundred feet above. It
is fitting that the largest canvases are placed here,
the biggest among them being Melville’s enormous
sketch, The Return from the Crucifixion, faced by
Egger-Lienz’s Peasant Pilgrims.
It is becoming more and more a recognised fact
that a picture in the process of creation is strongly
influenced by its surroundings, and when finished
depends for its effects fully as much on its environ-
ment as on its intrinsic beauty ; it must be in unison
and harmony with its entourage. In Mannheim,
Professor Dill and his colleagues have succeeded
in placing together those works which, quite
irrespective of nationality, form a colour scheme
in complete harmony with each other and the room
in which they are hung. Moreover, the larger halls
are divided into cabinets by projecting divisions,
and these are seldom larger than an ordinary living
room, but each compartment is separated from the
influence of the next, and is complete in itself. At
the same time the screens do not project so far, nor
are they so high as to destroy the impression of the
whole flower of which they are the petals. Nearly
all the rooms are lit from the top, and the walls are
hung with delicate silk, linen, coarse jute or other
stuffs, the result producing variety of surface as
well as of colour. To ensure the right milieu some
rooms have been been decorated by the artists them-
selves. One by Benno Becker is hung in black