DOI issue:
Nr. 174 (August, 1911)
DOI article:Studio-Talk
DOI Page / Citation link:https://doi.org/10.11588/diglit.43447#0217
Studio-Talk
of a rococo infused with a certain broad and
caustic humour: his miniature figures bend and
twist with perfect suppleness, but their grace has
more of the acrobatic than of the ballet character.
Lothar von Kunowski is now considered one of
the first art teachers in Germany. His method is
enthusiastically adopted by pupils who go in for
serious study. He has held schools in Munich
and Berlin and has lately responded to a call as
head-master in the seminary for teachers of drawing
at Dusseldorf. His almost magnetic influence is
based on a knowledge of the methods of old and
modern masters, on his ability to teach, and even
more on his personality. He has been fortunate to
find a congenial pupil in his wife, who is able to
demonstrate his doctrines by pencil and brush.
The Salon Schulte has been celebrating the
sixtieth birthday of Professor Heinrich von Zugel,
Germany’s greatest animal painter, with an im-
portant collective exhibition. Some of the drawings
of former years were marvels of mere quadruped
portraiture and we could trace the growing im-
portance of the surroundings till mastery was
established over every mode of expression and the
most complex subject. Domestic animals, the
denizens of our pastures, are Ziigel’s attractions.
He has watched them in their loneliness and in
their contact with men, in idyllic and dramatic
situations, and his wanderings through the plains
of Holland, Belgium, and Germany, as well as his
observations of seasons and day-moods, have kept
monotony out of his art. The wonderful colour-
sense of the painter and his technical esprit, which
simply invents new means of expression—he uses
thumb, knife, file, extra brushes, when a particular
effect of plastic form or of light is to be worked
out—make the study of his art so refreshing.
Ziigel has for many years been so absolutely master
of his craft that he occasionally dashes off his
pictures with too much elan and exhibits such
sketches in the pride of his heart. The fascination
of a mere colour-motif or of the play of the sun
will occupy him so passionatety that form appears
of secondary importance. J. J.
BARCELONA.—Carlos Vazquez in point
of age may still be classed amongst the
younger school of Spanish painters. His
genius showed itself at a very early age
and his work is now well known in nearly every
“tiie butcher’s yard”
162
BY HEINRICH VON ZUGEL
of a rococo infused with a certain broad and
caustic humour: his miniature figures bend and
twist with perfect suppleness, but their grace has
more of the acrobatic than of the ballet character.
Lothar von Kunowski is now considered one of
the first art teachers in Germany. His method is
enthusiastically adopted by pupils who go in for
serious study. He has held schools in Munich
and Berlin and has lately responded to a call as
head-master in the seminary for teachers of drawing
at Dusseldorf. His almost magnetic influence is
based on a knowledge of the methods of old and
modern masters, on his ability to teach, and even
more on his personality. He has been fortunate to
find a congenial pupil in his wife, who is able to
demonstrate his doctrines by pencil and brush.
The Salon Schulte has been celebrating the
sixtieth birthday of Professor Heinrich von Zugel,
Germany’s greatest animal painter, with an im-
portant collective exhibition. Some of the drawings
of former years were marvels of mere quadruped
portraiture and we could trace the growing im-
portance of the surroundings till mastery was
established over every mode of expression and the
most complex subject. Domestic animals, the
denizens of our pastures, are Ziigel’s attractions.
He has watched them in their loneliness and in
their contact with men, in idyllic and dramatic
situations, and his wanderings through the plains
of Holland, Belgium, and Germany, as well as his
observations of seasons and day-moods, have kept
monotony out of his art. The wonderful colour-
sense of the painter and his technical esprit, which
simply invents new means of expression—he uses
thumb, knife, file, extra brushes, when a particular
effect of plastic form or of light is to be worked
out—make the study of his art so refreshing.
Ziigel has for many years been so absolutely master
of his craft that he occasionally dashes off his
pictures with too much elan and exhibits such
sketches in the pride of his heart. The fascination
of a mere colour-motif or of the play of the sun
will occupy him so passionatety that form appears
of secondary importance. J. J.
BARCELONA.—Carlos Vazquez in point
of age may still be classed amongst the
younger school of Spanish painters. His
genius showed itself at a very early age
and his work is now well known in nearly every
“tiie butcher’s yard”
162
BY HEINRICH VON ZUGEL