DOI Heft:
Nr. 176 (October, 1911)
DOI Artikel:Studio-Talk
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.43447#0418
Studio- Talk
323
of unity and cohesion among the outside groups,
who along with some good work have also
sent much that is incoherent and capricious.
The most disappointing among them are the
Frankfort Group, in which Steinhausen’s Brother
and Sister alone leavesan enduring impression, and
the Weimar artists, among whom Mackensen easily
predominates with his sincere and convincing
rendering of an old moorland woman. Nor is the
contribution of the Berlin Association of Artists
quite so satisfying as one might have expected,
while among the Diisseldorfers, in whose rooms
Gebhardt’s Expulsion from the Temple is the most
notable achievement, a picture of the little town
of Emden, by H. Liesegang, renders the peculiar
aspect of Low German landscape in all its austerity,
and the Golden Autumn Day of Hermann bespeaks
a vigorous execution and a wholesome pleasure in
sphere of practice in which the rhythm of the
beautiful line, the nobility of form, yields place to
the problem of the conquest of colour. In the
pictures of Leo Putz the endeavour to lure all
possible light, air, and movement on to the canvas
has resulted in some masterly creations, in which
the juxtaposition of contrasted patches of colour,
seemingly arbitrary yet determined by the nature
of the problem in hand, affords a means of
expression which can hardly be surpassed. His
life-sized figure of a lady in a shimmering white
satin dress ; his lady in grey on the bank of a
meadow brook with slender birch-trees reflected in
the water, and the back view of a girl rowing in
glistening, mirror-like water, are all of them of
delightful freshness and vitality. Erich Erler-
Samaden’s high mountain landscapes reveal an
almost magical power of rendering sunlight by
pigment; but Eichler’s recent
works, which have a good
deal of the experimental
about them and lack the
assurance which marked his
earlier achievements, are not
wholly satisfying, even though
one may still find pleasure in
the fine colour treatment of
his pastures and woods.
The broadly executed land-
scapes of Gustav Bechler,
decorative in the best sense,
seemed in danger of becom-
ing mannered by the constant
repetition of identical or
similar motives, but happily
the works here shown avoid
this fault and have lost
nothing in sentiment and
power of conviction.
The collective exhibition
of the “Bavaria” Association
also contains many a good
picture, such as Ernst Lieber-
mann’s monumental Nym-
phenburg Castle in the pale
blue light of the moon, or
Schuster-Woldan’s portrait of
a boy; and the rooms of the
“ Luitpold Gruppe” show that
here too a number of capable
artists have united in success-
ful achievement. One looks
in vain for the same aspect
“the monk”
BY PROF. ANTON LAUPHEIMER
323
of unity and cohesion among the outside groups,
who along with some good work have also
sent much that is incoherent and capricious.
The most disappointing among them are the
Frankfort Group, in which Steinhausen’s Brother
and Sister alone leavesan enduring impression, and
the Weimar artists, among whom Mackensen easily
predominates with his sincere and convincing
rendering of an old moorland woman. Nor is the
contribution of the Berlin Association of Artists
quite so satisfying as one might have expected,
while among the Diisseldorfers, in whose rooms
Gebhardt’s Expulsion from the Temple is the most
notable achievement, a picture of the little town
of Emden, by H. Liesegang, renders the peculiar
aspect of Low German landscape in all its austerity,
and the Golden Autumn Day of Hermann bespeaks
a vigorous execution and a wholesome pleasure in
sphere of practice in which the rhythm of the
beautiful line, the nobility of form, yields place to
the problem of the conquest of colour. In the
pictures of Leo Putz the endeavour to lure all
possible light, air, and movement on to the canvas
has resulted in some masterly creations, in which
the juxtaposition of contrasted patches of colour,
seemingly arbitrary yet determined by the nature
of the problem in hand, affords a means of
expression which can hardly be surpassed. His
life-sized figure of a lady in a shimmering white
satin dress ; his lady in grey on the bank of a
meadow brook with slender birch-trees reflected in
the water, and the back view of a girl rowing in
glistening, mirror-like water, are all of them of
delightful freshness and vitality. Erich Erler-
Samaden’s high mountain landscapes reveal an
almost magical power of rendering sunlight by
pigment; but Eichler’s recent
works, which have a good
deal of the experimental
about them and lack the
assurance which marked his
earlier achievements, are not
wholly satisfying, even though
one may still find pleasure in
the fine colour treatment of
his pastures and woods.
The broadly executed land-
scapes of Gustav Bechler,
decorative in the best sense,
seemed in danger of becom-
ing mannered by the constant
repetition of identical or
similar motives, but happily
the works here shown avoid
this fault and have lost
nothing in sentiment and
power of conviction.
The collective exhibition
of the “Bavaria” Association
also contains many a good
picture, such as Ernst Lieber-
mann’s monumental Nym-
phenburg Castle in the pale
blue light of the moon, or
Schuster-Woldan’s portrait of
a boy; and the rooms of the
“ Luitpold Gruppe” show that
here too a number of capable
artists have united in success-
ful achievement. One looks
in vain for the same aspect
“the monk”
BY PROF. ANTON LAUPHEIMER