DOI issue:
Nr. 176 (October, 1911)
DOI article:Studio-Talk
DOI Page / Citation link:https://doi.org/10.11588/diglit.43447#0423
Studio-Talk
“ IN THE FOREST ” BY HANS THOMA
(By permission of the Deutsche Venagsansta.lt, Stuttgart)
of spring. Triibner always convinces of maturity,
but his energy occasionally lacks suppleness. His
large Andromeda impressed
one as superior to most of
the nudes in these exhi¬
bitions, which as a rule are
more or less common¬
place, but its awkward pose
and heavy structure marred
the impression. Th. Th.
Heine contributed some
finely painted pictures pro¬
claiming the decorative
draughtsman as well as the
humorist, and Karl Walser
achieved a convincing cha¬
racterisation of the West-end
of Berlin in his thin and
graceful impressionism.
Hans von Volkmann again
represented distinction in
an elegic landscape, Joseph
Block in the genre, and E.
Oppier in female por¬
traiture and a croquis
328
from fashionable beach life. Philipp Franck
attained effective colour-effects in his realistic
renditions of bathing children and boating
life. A Crucifixion by M. Brandenburg was
striking but unsatisfactory. His palette can
produce strangely fascinating effects, but the
movements of his figures are twisted and
awkward.
Hodler’s endeavours towards emotional
intensity have led him into exaggera-
tions of colour and line. His studies of
ecstatic women and men looked like Michel-
angelesque caricatures, but a picture like the
Dialogue Intime, depicting a naked youth
in the solitude of the mountains, evinced
in all its reserve and careful finish the
poet’s deep communion with nature. Max
Beckmann suffers from the same incongruity
between abundant feeling and adequate form.
His religious and society subjects bore testi-
mony to wrestlings with expression and
material.
Emil Orlik cleverly rendered the fascina-
tion of modern stage light in a Faust
Rehearsal tinder Max Reinhardt, and
Robert Sterl proved an original observer
of types in the Russian orchestras. Klein-
Diepold achieved convincing aspects of nature
with a palpable application of colour, and von
“an august day”
BY GOTTFRID KALLSTENIUS
(See Stockholm Studio-Talk, p. 329).
“ IN THE FOREST ” BY HANS THOMA
(By permission of the Deutsche Venagsansta.lt, Stuttgart)
of spring. Triibner always convinces of maturity,
but his energy occasionally lacks suppleness. His
large Andromeda impressed
one as superior to most of
the nudes in these exhi¬
bitions, which as a rule are
more or less common¬
place, but its awkward pose
and heavy structure marred
the impression. Th. Th.
Heine contributed some
finely painted pictures pro¬
claiming the decorative
draughtsman as well as the
humorist, and Karl Walser
achieved a convincing cha¬
racterisation of the West-end
of Berlin in his thin and
graceful impressionism.
Hans von Volkmann again
represented distinction in
an elegic landscape, Joseph
Block in the genre, and E.
Oppier in female por¬
traiture and a croquis
328
from fashionable beach life. Philipp Franck
attained effective colour-effects in his realistic
renditions of bathing children and boating
life. A Crucifixion by M. Brandenburg was
striking but unsatisfactory. His palette can
produce strangely fascinating effects, but the
movements of his figures are twisted and
awkward.
Hodler’s endeavours towards emotional
intensity have led him into exaggera-
tions of colour and line. His studies of
ecstatic women and men looked like Michel-
angelesque caricatures, but a picture like the
Dialogue Intime, depicting a naked youth
in the solitude of the mountains, evinced
in all its reserve and careful finish the
poet’s deep communion with nature. Max
Beckmann suffers from the same incongruity
between abundant feeling and adequate form.
His religious and society subjects bore testi-
mony to wrestlings with expression and
material.
Emil Orlik cleverly rendered the fascina-
tion of modern stage light in a Faust
Rehearsal tinder Max Reinhardt, and
Robert Sterl proved an original observer
of types in the Russian orchestras. Klein-
Diepold achieved convincing aspects of nature
with a palpable application of colour, and von
“an august day”
BY GOTTFRID KALLSTENIUS
(See Stockholm Studio-Talk, p. 329).