DOI Heft:
Nr. 176 (October, 1911)
DOI Artikel:Studio-Talk
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.43447#0415
Studio- Talk
MONUMENT TO THE PAINTER MUNKACSY IN THE KEREPES CEMETERY, BUDAPEST.
BY EDUARD TELCS
(See Budapest Studio- Talk, p. 318)
its own jury and comprehensive separate exhibition.
Special cabinets have also been set apart for societies
belonging to other centres—Berlin, Diisseldorf,
Baden, Frankfort, Hamburg, Weimar—an arrange-
ment which makes it easy to find one’s bearings.
If it is not the most striking personalities that are
to be found here in friendly competition with one
another, and if indeed not a little mediocre achieve-
ment comes into view as we pass from room to
room, yet the exhibition as a whole reflects the deep
sincerity which characterises the efforts of our
artists at the present day. One may willingly pass
over the bold experiments in colour and the daring
efforts to outdo a Van Gogh or Cezanne in which
many an artist in our midst takes unabashed delight,
and may find a source of pleasure in the indubitable
320
evidence of progress in pic-
torial quality and in the
diversity of technical methods
which this assemblage of
some two thousand works,
representing every conceiv-
able direction and tendency,
offers us.
Truth and heresy here
thrive on the same soil. A
painting of such mature crafts-
manship as Eduard von
Gebhardt’s Austrei-bung aus
dem Tempel (The Expulsion
from the Temple), with its
evidence of such remarkable
attainments in draughtsman-
ship, of certitude in compo-
sition and the distribution of
masses, of delicate handling
of colour and such animation
in the striking portrayal of
the event, Lrefutes all the
dogmas and principles of our
modern and ultra-modern
method of painting. The
purely objective interest, re-
garded as of secondary
moment and inartistic by
that Eesthetic school which
has had such a deep influence
on the art of to-day, has here
by the vivid manner in which
the scene is presented ac-
quired such importance that
even those who regard the
Biblical narrative itself with more or less indifference
are impressed with the picture. In presence of such
a work one becomes keenly conscious of the fact that
modern art has scarcely been successful in religious
painting and that he who has something to say to
the many must not despise the material interest
nor relinquish that quest of the beautiful which is
almost regarded with hatred by the modern school,
as well as a certain nobility of presentation. That
these aims are quite compatible with present-day
tendencies, which have in view an amplification
of the means of expression and technical perfection,
proof is furnished by many a painting in this
exhibition.
One-half of the entire space available has been
reserved by the Genossenschaft for the works of
MONUMENT TO THE PAINTER MUNKACSY IN THE KEREPES CEMETERY, BUDAPEST.
BY EDUARD TELCS
(See Budapest Studio- Talk, p. 318)
its own jury and comprehensive separate exhibition.
Special cabinets have also been set apart for societies
belonging to other centres—Berlin, Diisseldorf,
Baden, Frankfort, Hamburg, Weimar—an arrange-
ment which makes it easy to find one’s bearings.
If it is not the most striking personalities that are
to be found here in friendly competition with one
another, and if indeed not a little mediocre achieve-
ment comes into view as we pass from room to
room, yet the exhibition as a whole reflects the deep
sincerity which characterises the efforts of our
artists at the present day. One may willingly pass
over the bold experiments in colour and the daring
efforts to outdo a Van Gogh or Cezanne in which
many an artist in our midst takes unabashed delight,
and may find a source of pleasure in the indubitable
320
evidence of progress in pic-
torial quality and in the
diversity of technical methods
which this assemblage of
some two thousand works,
representing every conceiv-
able direction and tendency,
offers us.
Truth and heresy here
thrive on the same soil. A
painting of such mature crafts-
manship as Eduard von
Gebhardt’s Austrei-bung aus
dem Tempel (The Expulsion
from the Temple), with its
evidence of such remarkable
attainments in draughtsman-
ship, of certitude in compo-
sition and the distribution of
masses, of delicate handling
of colour and such animation
in the striking portrayal of
the event, Lrefutes all the
dogmas and principles of our
modern and ultra-modern
method of painting. The
purely objective interest, re-
garded as of secondary
moment and inartistic by
that Eesthetic school which
has had such a deep influence
on the art of to-day, has here
by the vivid manner in which
the scene is presented ac-
quired such importance that
even those who regard the
Biblical narrative itself with more or less indifference
are impressed with the picture. In presence of such
a work one becomes keenly conscious of the fact that
modern art has scarcely been successful in religious
painting and that he who has something to say to
the many must not despise the material interest
nor relinquish that quest of the beautiful which is
almost regarded with hatred by the modern school,
as well as a certain nobility of presentation. That
these aims are quite compatible with present-day
tendencies, which have in view an amplification
of the means of expression and technical perfection,
proof is furnished by many a painting in this
exhibition.
One-half of the entire space available has been
reserved by the Genossenschaft for the works of