DOI Heft:
Nr. 165 (November, 1910)
DOI Artikel:Studio-talk
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.19869#0080
Studio- Talk
and one of those who deal with longings, way-
ward creations of the brain, fancies rather than
with facts. He makes use of pure line only,
and does not abuse it. Yet one feels plainly that
his heart goes out to the story he has to tell more
than to the care of the manner in which he tells
it. Fritz Voellmy, on the other hand, handles his
line beautifully, and his work is a pleasure to
behold for the mere delight the sane workmanship
bestows. The good, even quality of his etchings,
viewed from the point of view of style, reminds one
of the British work, which is all dependent upon
the finest schooling and tradition. C. Felber is a
disciple of Gampert, I take it, and one whom the
teacher may well be proud of. He has the solid,
effective methods of his master, but he is more
dramatic. The contrast between light and dark-
ness is heightened to a climax in many of his plates,
and nature, in her wildest, most theatrical phases
appeals to him most. He is the opposite of such
artists as Emil Anner, Helene Dahm, Franz Gelin,
bookplate (wood-cut from four blocks) Gertrud Escher and their calm, quiet work. They
By marie stiefel
with the members of the " Walze " as
yet, and I do not know but what that
should not be looked upon as a good
sign. On account of the easiness with
which it is worked lithography is only
too often resorted to by artists who
have not a real calling for any printing
technique at all. C. Meyer-Basel, well
and favourably known as an able
etcher, has exhibited several lithographs
in colour. But they are mere crayon
drawings, tinted a posteriori, and the
colouring does not really form an
intrinsic part of the work. Itschner
should, however, be mentioned as a
lithographer. His Glockenbauen—
children playing in the open—is an
excellent bit of handling figure subjects
decoratively. _
The great supports of the etching
division among the " Walze" club
are Dr. Gampert and Albert Welti.
Gampert has been introduced to the
readers of The Studio before now,
and his forceful, broad " soft ground "
landscapes are as fine as ever. Welti
is an imaginative artist, but his powers
of imagination are literary rather than
purely artistic. He is a story-teller "old woman knitting" (etching), by prof, john philipp
74
and one of those who deal with longings, way-
ward creations of the brain, fancies rather than
with facts. He makes use of pure line only,
and does not abuse it. Yet one feels plainly that
his heart goes out to the story he has to tell more
than to the care of the manner in which he tells
it. Fritz Voellmy, on the other hand, handles his
line beautifully, and his work is a pleasure to
behold for the mere delight the sane workmanship
bestows. The good, even quality of his etchings,
viewed from the point of view of style, reminds one
of the British work, which is all dependent upon
the finest schooling and tradition. C. Felber is a
disciple of Gampert, I take it, and one whom the
teacher may well be proud of. He has the solid,
effective methods of his master, but he is more
dramatic. The contrast between light and dark-
ness is heightened to a climax in many of his plates,
and nature, in her wildest, most theatrical phases
appeals to him most. He is the opposite of such
artists as Emil Anner, Helene Dahm, Franz Gelin,
bookplate (wood-cut from four blocks) Gertrud Escher and their calm, quiet work. They
By marie stiefel
with the members of the " Walze " as
yet, and I do not know but what that
should not be looked upon as a good
sign. On account of the easiness with
which it is worked lithography is only
too often resorted to by artists who
have not a real calling for any printing
technique at all. C. Meyer-Basel, well
and favourably known as an able
etcher, has exhibited several lithographs
in colour. But they are mere crayon
drawings, tinted a posteriori, and the
colouring does not really form an
intrinsic part of the work. Itschner
should, however, be mentioned as a
lithographer. His Glockenbauen—
children playing in the open—is an
excellent bit of handling figure subjects
decoratively. _
The great supports of the etching
division among the " Walze" club
are Dr. Gampert and Albert Welti.
Gampert has been introduced to the
readers of The Studio before now,
and his forceful, broad " soft ground "
landscapes are as fine as ever. Welti
is an imaginative artist, but his powers
of imagination are literary rather than
purely artistic. He is a story-teller "old woman knitting" (etching), by prof, john philipp
74