DOI Heft:
Nr. 176 (October, 1911)
DOI Artikel:Studio-Talk
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.43447#0417
Studio- Talk
“at bezigheim on the neckar(etching)
BY HANS VOLKERT
countenance and hands of the venerable Regent
and avoided all details which might distract the
attention of the observer from these vital charac-
teristics. With masterful draughtsmanship there is
here joined a pictorial treatment at once sincere
and sound, and such as only those who even if
gifted above the average can attain to after long
discipline.
It is impossible to name here all the works in
this exhibition which stand out from the average
either on account of some special characteristic or
because of their pictorial qualities, such as Gino
Parin’s interesting portrait of a lady, painted with
much virtuosity in a scheme of blues, or Theodor
Bohnenberger’s admirably modelled nude study of
a fair and slender young woman, in which the flesh
painting is of remarkable freshness and vitality.
Here, as throughout the entire exhibition, landscape
with or without staffage predominates, and in all
cases we see an endeavour to render nature in its
simple grandeur and with special regard to its
beauty of colour, whether it be a spring scene like
322
that of Franz Hoch or an autumn scene from the
Wetterstein Mountains by Rudi Krapf, or Joseph
Schmutzberger’s Chamois in the Snow, a scene from
the high mountains, or again Eugen Ludwig Hoess’s
Sunny Winter Day, with its luminous coloration.
The majority of the genre pictures do not rise above
the level of mediocrity, but Hans Best’s robust
pictures depicting scenes in the life of the people
of Upper Bavaria stand out among the better
achievements of .this class. In his large canvas
Susannah and the Two Elders, a work of special
interest in regard to its colour-scheme, Hans
Lietzmann has managed to find a new side to this
somewhat hackneyed theme.
The collective exhibit of the “ Scholle ” group
contains, in addition to some experiments of
doubtful value, works which are of the most
progressive order and evince a mature technical
accomplishment. Fritz Erler’s characteristic por-
traits of men, painted in pure luminous colours
which stand out vividly from background made up
of loose flakey patches of pigment, bring us to that
“at bezigheim on the neckar(etching)
BY HANS VOLKERT
countenance and hands of the venerable Regent
and avoided all details which might distract the
attention of the observer from these vital charac-
teristics. With masterful draughtsmanship there is
here joined a pictorial treatment at once sincere
and sound, and such as only those who even if
gifted above the average can attain to after long
discipline.
It is impossible to name here all the works in
this exhibition which stand out from the average
either on account of some special characteristic or
because of their pictorial qualities, such as Gino
Parin’s interesting portrait of a lady, painted with
much virtuosity in a scheme of blues, or Theodor
Bohnenberger’s admirably modelled nude study of
a fair and slender young woman, in which the flesh
painting is of remarkable freshness and vitality.
Here, as throughout the entire exhibition, landscape
with or without staffage predominates, and in all
cases we see an endeavour to render nature in its
simple grandeur and with special regard to its
beauty of colour, whether it be a spring scene like
322
that of Franz Hoch or an autumn scene from the
Wetterstein Mountains by Rudi Krapf, or Joseph
Schmutzberger’s Chamois in the Snow, a scene from
the high mountains, or again Eugen Ludwig Hoess’s
Sunny Winter Day, with its luminous coloration.
The majority of the genre pictures do not rise above
the level of mediocrity, but Hans Best’s robust
pictures depicting scenes in the life of the people
of Upper Bavaria stand out among the better
achievements of .this class. In his large canvas
Susannah and the Two Elders, a work of special
interest in regard to its colour-scheme, Hans
Lietzmann has managed to find a new side to this
somewhat hackneyed theme.
The collective exhibit of the “ Scholle ” group
contains, in addition to some experiments of
doubtful value, works which are of the most
progressive order and evince a mature technical
accomplishment. Fritz Erler’s characteristic por-
traits of men, painted in pure luminous colours
which stand out vividly from background made up
of loose flakey patches of pigment, bring us to that