DOI issue:
No. 137 (July, 1908)
DOI article:Studio-talk
DOI Page / Citation link: https://doi.org/10.11588/diglit.28255#0096
Studio-Talk
windows. He understands perfectly how to con-
strue a severe architectural frame without letting
his figures lose freedom of gesture or intensity
of emotional expression. The extraordinary,
almost transcendental, beauty of his colours is
attained by running different glass-fluxes one
over the other and by etching the intended
effects out of them.
GIRL WITH SNAIL” (HEAD AND HANDS OF IVORY)
BY EMIL GEIGER
At the Salon Cassirer the drawings and etch-
ings of Paul Baum of Dutch landscapes and
architecture impressed one as of peculiar charm
in their clean and economic technique. He
loves a well-ordered design and carries it out
with great sureness in his skilful and sensitive
drawing. Dry point yields his best effects of
tone. As a graphic artist and pointillistic
painter Baum is one of the few who can still
find time in our period of haste. Kate Kollwitz
again introduced herself in a numerous collec-
tion of drawings as the strongest of our female
artists. Ugliness and misery are her sources
of inspiration, and she renders their brutality
with fearless energy. We must always admire
stone, objects as precious as the rarest
old Meissen or Limoges bric-a-brac.
Geiger’s subjects are culled with
predilection from the fairy-tale, and
he understands how to invest his
dainty Lilliputian maidens with
peculiar charms of purity and courtly
grace. Such a plastic treasure is an
exquisite ornament in the most
elegant salon.
The Melchior Lechter exhibition
in the Salon Gurlitt showed that
modern work in the spirit of a
remote time does not necessarily
mean archaism. We always recog-
nise in his human figures, land-
scapes and still-life pieces an inde-
fatigable study of reality ; he is the
idealist working on a raturalistic
basis, and gothicism is the natural
foim of his expression. In spite of
his splendid isolation in our impres-
sionistic time, Lechter has main-
tained a high position by the strength
and veracity of his work. This
exhibition again proclaimed him as
our best designer of stained-glass
78
“SUNDAY”
BY OTMAR RUZICKA
(See Vienna Studio- Talk)
windows. He understands perfectly how to con-
strue a severe architectural frame without letting
his figures lose freedom of gesture or intensity
of emotional expression. The extraordinary,
almost transcendental, beauty of his colours is
attained by running different glass-fluxes one
over the other and by etching the intended
effects out of them.
GIRL WITH SNAIL” (HEAD AND HANDS OF IVORY)
BY EMIL GEIGER
At the Salon Cassirer the drawings and etch-
ings of Paul Baum of Dutch landscapes and
architecture impressed one as of peculiar charm
in their clean and economic technique. He
loves a well-ordered design and carries it out
with great sureness in his skilful and sensitive
drawing. Dry point yields his best effects of
tone. As a graphic artist and pointillistic
painter Baum is one of the few who can still
find time in our period of haste. Kate Kollwitz
again introduced herself in a numerous collec-
tion of drawings as the strongest of our female
artists. Ugliness and misery are her sources
of inspiration, and she renders their brutality
with fearless energy. We must always admire
stone, objects as precious as the rarest
old Meissen or Limoges bric-a-brac.
Geiger’s subjects are culled with
predilection from the fairy-tale, and
he understands how to invest his
dainty Lilliputian maidens with
peculiar charms of purity and courtly
grace. Such a plastic treasure is an
exquisite ornament in the most
elegant salon.
The Melchior Lechter exhibition
in the Salon Gurlitt showed that
modern work in the spirit of a
remote time does not necessarily
mean archaism. We always recog-
nise in his human figures, land-
scapes and still-life pieces an inde-
fatigable study of reality ; he is the
idealist working on a raturalistic
basis, and gothicism is the natural
foim of his expression. In spite of
his splendid isolation in our impres-
sionistic time, Lechter has main-
tained a high position by the strength
and veracity of his work. This
exhibition again proclaimed him as
our best designer of stained-glass
78
“SUNDAY”
BY OTMAR RUZICKA
(See Vienna Studio- Talk)