DOI issue:
No. 129 (November, 1907)
DOI article:Studio-talk
DOI Page / Citation link:https://doi.org/10.11588/diglit.28253#0086
Studio-Talk
The monument to the Empress
Elizabeth, recently unveiled here
by the Emperor, and which was
subscribed for by the people of
Vienna, has been the subject of
a great deal of criticism. When
the models sent in for the open
competition started by the com-
mittee were exhibited at the
Austrian Museum some two years
ago, it was seen that the condi-
tions laid down by the committee
militated against any entirely
satisfactory result. One of these
conditions was that the statue
should represent the Empress as
she was in her later years, but
living as she did very much in
retirement during this period,
7°
“AT THE WRITING-BUREAU’ (WATER-COLOUR)
BY WILHELM BERNATZIK
probably not one of the competitors ever even
caught a glimpse of her, and as no photographic
or other portraits were available, they were
left without any definite guidance. This may
account for the indistinctness of the features in
Professor Hans Bitterlich’s statue, for which he
was awarded second prize (the first was with-
held). The dress, too, is open to criticism, but
here again the conditions laid down by the
Committee made it impossible to secure a
perfectly satisfactory result. The pose of the
figure, however, is easy and graceful, and its
dignity is enhanced by the architectural back-
ground, the work of Oberbaurat Ohmann. The
monument is erected in a corner of the Volks-
garten, and, spite of its faults, avoidable and
unavoidable, will form an additional attraction
to the city. A. S. L.
delicacy of the brush, for here Bernatzik in a way
seemed to emulate Klimt. On the walls tvere
hung landscapes, long and narrow in form, bits of
meadows filled with grass, amid which the wild
flowers played hide and seek, or woods where tall
poplars showed their silvery stems in varying lights,
or bits of mother earth covered with verdure, all of
them full of that fine atmospheric feeling which the
artist shared with Nature herself. At one end was
a triptych, in the centre of which was a stream
meandering through banks gay with flowers, with
tall poplars in the foreground, and on either side a
female figure. The arrangement and decorations
of Bernatzik’s “ Yellow Room ” are not easily to be
forgotten.
The memorial exhibition offered an opportunity
of judging of Bernatzik’s powers as an artist.
Both the Miethke Galleries
were taken up with his pictures
and drawings. The idea was
a very happy one, and even
those best acquainted with him
were surprised at the display,
particularly with his latest work,
of which even his intimate
friends were ignorant till death
snatched him away from them.
This exhibition showed how great
a place he occupied among Aus-
tria’s artists, and how much he
is appreciated is proved by the
fact that many were found eager
to acquire his works.
The monument to the Empress
Elizabeth, recently unveiled here
by the Emperor, and which was
subscribed for by the people of
Vienna, has been the subject of
a great deal of criticism. When
the models sent in for the open
competition started by the com-
mittee were exhibited at the
Austrian Museum some two years
ago, it was seen that the condi-
tions laid down by the committee
militated against any entirely
satisfactory result. One of these
conditions was that the statue
should represent the Empress as
she was in her later years, but
living as she did very much in
retirement during this period,
7°
“AT THE WRITING-BUREAU’ (WATER-COLOUR)
BY WILHELM BERNATZIK
probably not one of the competitors ever even
caught a glimpse of her, and as no photographic
or other portraits were available, they were
left without any definite guidance. This may
account for the indistinctness of the features in
Professor Hans Bitterlich’s statue, for which he
was awarded second prize (the first was with-
held). The dress, too, is open to criticism, but
here again the conditions laid down by the
Committee made it impossible to secure a
perfectly satisfactory result. The pose of the
figure, however, is easy and graceful, and its
dignity is enhanced by the architectural back-
ground, the work of Oberbaurat Ohmann. The
monument is erected in a corner of the Volks-
garten, and, spite of its faults, avoidable and
unavoidable, will form an additional attraction
to the city. A. S. L.
delicacy of the brush, for here Bernatzik in a way
seemed to emulate Klimt. On the walls tvere
hung landscapes, long and narrow in form, bits of
meadows filled with grass, amid which the wild
flowers played hide and seek, or woods where tall
poplars showed their silvery stems in varying lights,
or bits of mother earth covered with verdure, all of
them full of that fine atmospheric feeling which the
artist shared with Nature herself. At one end was
a triptych, in the centre of which was a stream
meandering through banks gay with flowers, with
tall poplars in the foreground, and on either side a
female figure. The arrangement and decorations
of Bernatzik’s “ Yellow Room ” are not easily to be
forgotten.
The memorial exhibition offered an opportunity
of judging of Bernatzik’s powers as an artist.
Both the Miethke Galleries
were taken up with his pictures
and drawings. The idea was
a very happy one, and even
those best acquainted with him
were surprised at the display,
particularly with his latest work,
of which even his intimate
friends were ignorant till death
snatched him away from them.
This exhibition showed how great
a place he occupied among Aus-
tria’s artists, and how much he
is appreciated is proved by the
fact that many were found eager
to acquire his works.