DOI Heft:
Nr. 164 (October, 1910)
DOI Artikel:Schölermann, Wilhelm: The Deutscher Künstlerbund's exhibition of graphic art at Hamburg
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.19867#0383
The Deutscher Kunstlerbund
true flavour of the sea is shown by such litho-
graphs as the two now reproduced—The Pilot
going Aboard, which admirably renders the colours
of the original, and Squally Wtalher on p. 279.
Characteristic also is the haibour scene drawn in
charcoal.
Reinhold Klaus has chosen for the subject of a
wood-engraving the great basin of the outer Alster
near Hamburg, in which the distant horizon
effectively emphasizes the breadth of this expanse
of water. Emil Nolde is another whose fascination
is in the water, and he, like Grethe, though with
different means, strives to register the aspect of
water and atmosphere on the North Sea at the
passing moment. For this purpose he avails him-
self only of the contrast of black-and-white on the
copper plate, which he etches in a loose, sketchy
manner, which gives scope for unexpected results
and often leads to very striking effects. Thus in
his Sail and Steam the method serves well to render
those dark clouds of smoke puffed forth from the
funnels of the steamers and borne away on the
breeze. An almost humorous effect is attained by
Walter Klemm in his black-and-white wood-
engraving, The Bridge, with its procession of foot
passengers fortified with waterproofs and umbrellas
against the rain.
Amongst the figure subjects are several that call
for special mention, notably Emil Orlik's portrait
of the Viennese author and playwright, Hermann
Bahr (p. 280), an exceedingly fine character study
executed by the mezzotint process—"Schabkunst-
manier," as it is called by German artists ; also
Fritz Lederer's portrait of a gentleman in spec-
tacles (p. 280) ; Hermann Struck's lithograph,
A Student of the Talmud (p. 279), and an etched
study of a young man's head by Ekkehard Reuter
(p. 281).
Hans Volkert is represented at this display by a
series of etched compositions suggested by Ruskin's
"Seven Lamps." These etchings are symbolic
interpretations of the superscriptions to the
chapters of this famous work on Gothic archi-
tecture, such as The Lamp of Power, The Lamp of
Obedience, The Lamp of Sacrifice, and The Lamp of
Life, in which the artist has sought to give utter-
"sail and steam" (etching)
282
by emil nolde
true flavour of the sea is shown by such litho-
graphs as the two now reproduced—The Pilot
going Aboard, which admirably renders the colours
of the original, and Squally Wtalher on p. 279.
Characteristic also is the haibour scene drawn in
charcoal.
Reinhold Klaus has chosen for the subject of a
wood-engraving the great basin of the outer Alster
near Hamburg, in which the distant horizon
effectively emphasizes the breadth of this expanse
of water. Emil Nolde is another whose fascination
is in the water, and he, like Grethe, though with
different means, strives to register the aspect of
water and atmosphere on the North Sea at the
passing moment. For this purpose he avails him-
self only of the contrast of black-and-white on the
copper plate, which he etches in a loose, sketchy
manner, which gives scope for unexpected results
and often leads to very striking effects. Thus in
his Sail and Steam the method serves well to render
those dark clouds of smoke puffed forth from the
funnels of the steamers and borne away on the
breeze. An almost humorous effect is attained by
Walter Klemm in his black-and-white wood-
engraving, The Bridge, with its procession of foot
passengers fortified with waterproofs and umbrellas
against the rain.
Amongst the figure subjects are several that call
for special mention, notably Emil Orlik's portrait
of the Viennese author and playwright, Hermann
Bahr (p. 280), an exceedingly fine character study
executed by the mezzotint process—"Schabkunst-
manier," as it is called by German artists ; also
Fritz Lederer's portrait of a gentleman in spec-
tacles (p. 280) ; Hermann Struck's lithograph,
A Student of the Talmud (p. 279), and an etched
study of a young man's head by Ekkehard Reuter
(p. 281).
Hans Volkert is represented at this display by a
series of etched compositions suggested by Ruskin's
"Seven Lamps." These etchings are symbolic
interpretations of the superscriptions to the
chapters of this famous work on Gothic archi-
tecture, such as The Lamp of Power, The Lamp of
Obedience, The Lamp of Sacrifice, and The Lamp of
Life, in which the artist has sought to give utter-
"sail and steam" (etching)
282
by emil nolde