DOI Heft:
Nr. 164 (October, 1910)
DOI Artikel:Studio-talk
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.19867#0422
Studio- Talk
of life, these being exceptionally strong and and much vigour. In his flower-painting we see
convincing. the artist in another vein; it charms us by its
refinement and purity of treatment. A. S. L
Prof. Rudolf Schramm-Zittau is another painter
who delights in portraying animal life. His "j >v RESDEN.—In The Studio for Feb-
studies of water-fowl in particular are capital, for \ ruary, 1905, I gave a short review of
the artist is a keen observer of their movements j m Otto Fischer; since then, most of the
and habits, and his rendering of water in motion * work he has actually published has
shows much skill. He is at his best in depicting been in the field of etching. For four years or so
ducks, swan, geese, and other feathered animals, he has turned his attention to oil painting. But
for he thoroughly understands them; but his although he has produced most beautiful still-life
range is not limited to such subjects, his scenes paintings—according to the verdict of the few
from Munich proving him to be an able inter- friends and critics who have been allowed to see
preter of the life and atmosphere of this famous them—he will not let them go forth from his studio
art centre. _ since they do not satisfy him. Quintilian in his
Institutions sets up a warning against too high an
Wladislaw Slevinski's work shows the true ambition. Generally ambition is looked upon as
instinct of the Pole, for it is expressed in sad the spur towards labour and fame. But he who
scenes of the sea, of the cliffs, and of the eternal sets too high an ideal before himself, is apt to
snow. But his brush is a poetic one, for he remain barren because of his being discouraged,
breathes the poetry of nature, her gentle side There is more sound than sense in the axiom that
when all is at rest. His snow scenes, with the one must not remain satisfied with anything but
long chain of mountains in the background, tell the very highest achievement. It certainly has
their own story; the artist loves to linger over his settled heavily upon the spirits of many an art-
work, and we seem to seethe snowflakes as they student and paralyzed his energies. One cannot help
fall. His studies of peasants, too, are highly thinking of its bad influence when one meets cases
characteristic; he understands them and their such as that of Fischer and the verdict he pro-
ways, and these he depicts with much breadth nounces upon his own efforts with brush and oils.
of life, these being exceptionally strong and and much vigour. In his flower-painting we see
convincing. the artist in another vein; it charms us by its
refinement and purity of treatment. A. S. L
Prof. Rudolf Schramm-Zittau is another painter
who delights in portraying animal life. His "j >v RESDEN.—In The Studio for Feb-
studies of water-fowl in particular are capital, for \ ruary, 1905, I gave a short review of
the artist is a keen observer of their movements j m Otto Fischer; since then, most of the
and habits, and his rendering of water in motion * work he has actually published has
shows much skill. He is at his best in depicting been in the field of etching. For four years or so
ducks, swan, geese, and other feathered animals, he has turned his attention to oil painting. But
for he thoroughly understands them; but his although he has produced most beautiful still-life
range is not limited to such subjects, his scenes paintings—according to the verdict of the few
from Munich proving him to be an able inter- friends and critics who have been allowed to see
preter of the life and atmosphere of this famous them—he will not let them go forth from his studio
art centre. _ since they do not satisfy him. Quintilian in his
Institutions sets up a warning against too high an
Wladislaw Slevinski's work shows the true ambition. Generally ambition is looked upon as
instinct of the Pole, for it is expressed in sad the spur towards labour and fame. But he who
scenes of the sea, of the cliffs, and of the eternal sets too high an ideal before himself, is apt to
snow. But his brush is a poetic one, for he remain barren because of his being discouraged,
breathes the poetry of nature, her gentle side There is more sound than sense in the axiom that
when all is at rest. His snow scenes, with the one must not remain satisfied with anything but
long chain of mountains in the background, tell the very highest achievement. It certainly has
their own story; the artist loves to linger over his settled heavily upon the spirits of many an art-
work, and we seem to seethe snowflakes as they student and paralyzed his energies. One cannot help
fall. His studies of peasants, too, are highly thinking of its bad influence when one meets cases
characteristic; he understands them and their such as that of Fischer and the verdict he pro-
ways, and these he depicts with much breadth nounces upon his own efforts with brush and oils.