DOI Heft:
No. 137 (July, 1908)
DOI Artikel:Levetus, A. S.: An Austrian painter-etcher: Ludwig Michalek
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.28255#0035
Ludwig Michalek
“near ROSENBERG” (PASTEL) ( The property of Frau von Pulszhy-Figdor) BY LUDWIG MICHALEK
mountains, where she even adopts the dress of the
villagers. The artist has here surpassed himself, for
the picture is not only characteristic but realistic;
the son has given himself to his task with a
love and an inward joy which is infectious. The
mother’s first thought when she enters his studio
is to see what her son has been doing during
her absence, and the artist-son has caught the
moment, as she eagerly examines his por.folio of
drawings, a look of contentment and satisfaction
lighting up her face.
Turning to Michalek’s landscapes, the examples
here given show how well he has grasped the
principles which determine the making of a suc-
cessful picture. Here, too, that sincerity of work-
manship, shrewd observation, and sympathetic
touch which his figure subjects disclose are manifest.
In Near Rosenberg we have a bit of Hungarian
scenery ; in the background to the right the com-
mencement of the Carpathians, rising 1 ke mounds
one against the other; to the left forests of pines ;
in the foreground the broad highway leading to
the town. This picture is peculiarly fine in tone
and colouring, and here again that familiarity is to
be recognised which is also so prominent a feature
of his portraits. The Old Protestant Wooden
Church at Caronszegh is another tender conception,
lovingly realized. Built two hundred and fifty
years ago, at a time when none but wooden
churches were allowed to the Protestants in Hun-
gary, this church is, with a single exception, the
only one which has withstood the ravages of time
and fire. The artist has admirably interpreted
his subject, the rich brown tones of the old wood
coming out well from behind the foliage of the
trees in the foreground, while to the right, gleam-
ing through the trees, the whitewashed walls of
the low and modest vicarage are to be seen.
Michalek’s pastel drawing of the interior of this
church is in the Modern Gallery, Vienna, for
which it was acquired by the Austrian Ministry of
Fine Arts and Education.
The etching from the “ Weinlechner Werk ”
takes us back to Vienna, to one of the numerous
courtyards, all of them picturesque, of the Vienna
public infirmary built by Josef II. towards the end
of the eighteenth century. This “Werk” was pre-
sented to the late Professor Weinlechner, the
17
“near ROSENBERG” (PASTEL) ( The property of Frau von Pulszhy-Figdor) BY LUDWIG MICHALEK
mountains, where she even adopts the dress of the
villagers. The artist has here surpassed himself, for
the picture is not only characteristic but realistic;
the son has given himself to his task with a
love and an inward joy which is infectious. The
mother’s first thought when she enters his studio
is to see what her son has been doing during
her absence, and the artist-son has caught the
moment, as she eagerly examines his por.folio of
drawings, a look of contentment and satisfaction
lighting up her face.
Turning to Michalek’s landscapes, the examples
here given show how well he has grasped the
principles which determine the making of a suc-
cessful picture. Here, too, that sincerity of work-
manship, shrewd observation, and sympathetic
touch which his figure subjects disclose are manifest.
In Near Rosenberg we have a bit of Hungarian
scenery ; in the background to the right the com-
mencement of the Carpathians, rising 1 ke mounds
one against the other; to the left forests of pines ;
in the foreground the broad highway leading to
the town. This picture is peculiarly fine in tone
and colouring, and here again that familiarity is to
be recognised which is also so prominent a feature
of his portraits. The Old Protestant Wooden
Church at Caronszegh is another tender conception,
lovingly realized. Built two hundred and fifty
years ago, at a time when none but wooden
churches were allowed to the Protestants in Hun-
gary, this church is, with a single exception, the
only one which has withstood the ravages of time
and fire. The artist has admirably interpreted
his subject, the rich brown tones of the old wood
coming out well from behind the foliage of the
trees in the foreground, while to the right, gleam-
ing through the trees, the whitewashed walls of
the low and modest vicarage are to be seen.
Michalek’s pastel drawing of the interior of this
church is in the Modern Gallery, Vienna, for
which it was acquired by the Austrian Ministry of
Fine Arts and Education.
The etching from the “ Weinlechner Werk ”
takes us back to Vienna, to one of the numerous
courtyards, all of them picturesque, of the Vienna
public infirmary built by Josef II. towards the end
of the eighteenth century. This “Werk” was pre-
sented to the late Professor Weinlechner, the
17