DOI Heft:
Nr. 176 (October, 1911)
DOI Artikel:Studio-Talk
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.43447#0424
Studio- Talk
“the friends”
(National Museum, Stockholm )
BY HANNA PAULI
Brockhusen and Rosier had closely studied
Van Gogh and Cezanne. Pottner paints the
members of the chanticleer world with so much
delight in their bearing and plumage that we were
able to comprehend his mastery in rhe ceramic
rendition, and the exhibits of Joseph Oppenheimer,
Baluschek, von Kardorf, Rhein, Bach, Bischof-
Kulm, Treuman, Bondy, S. Lepsius, Kalkreuth,
and Klemm also revealed a good measure of
merit. Among the young men Hans Meid once
more attracted attention by a peculiar kind of
romanticism.
Some notable achievements were to be studied
in the domain of sculpture. Richard Engelmann
sent a monumental female nude, The Sleeper,
a park decoration in utmost simplification of
recumbent line which perfectly combines grace and
power. Klimsch, Kruse, and von Gosen—the two
latter in wood sculpture—excelled in individual
portraiture, Nicolaus Friedrich in dramatic action,
and A. Oppier in expressive delineation of the
female body. J. J.
STOCKHOLM.—In my last Studio-Talk I
referred to two among the numerous art
exhibitions which have been held in
Stockholm during the early months of
this year. There remain two or three more of
enough importance to be spoken of here. The
most academic of all our art societies is “The
Society of Swedish Artists.” That is a known
fact, though one cannot always see it at their
exhibitions. This society arranged its exhibition
this year in the “ Konstnarshus,” and, as many
times before, the landscapes of Gottfrid Kallstenius
were the most prominent features of the show.
An August Day (p. 328) was perhaps his best
picture here, a copper-red cliff against a strong
blue sea. A small study, Clouds, also showed all
the best qualities of Kallstenius’s manly, unaffected
art, of which good examples were sent to the
Swedish Exhibition in Brighton. Fourother talented
landscape painters who were also well represented
at the Brighton show are Knut Borgh—to whose
intensely lyrical studies of trees reference has been
made several times in The Studio; Hugo Carlberg,
329
“the friends”
(National Museum, Stockholm )
BY HANNA PAULI
Brockhusen and Rosier had closely studied
Van Gogh and Cezanne. Pottner paints the
members of the chanticleer world with so much
delight in their bearing and plumage that we were
able to comprehend his mastery in rhe ceramic
rendition, and the exhibits of Joseph Oppenheimer,
Baluschek, von Kardorf, Rhein, Bach, Bischof-
Kulm, Treuman, Bondy, S. Lepsius, Kalkreuth,
and Klemm also revealed a good measure of
merit. Among the young men Hans Meid once
more attracted attention by a peculiar kind of
romanticism.
Some notable achievements were to be studied
in the domain of sculpture. Richard Engelmann
sent a monumental female nude, The Sleeper,
a park decoration in utmost simplification of
recumbent line which perfectly combines grace and
power. Klimsch, Kruse, and von Gosen—the two
latter in wood sculpture—excelled in individual
portraiture, Nicolaus Friedrich in dramatic action,
and A. Oppier in expressive delineation of the
female body. J. J.
STOCKHOLM.—In my last Studio-Talk I
referred to two among the numerous art
exhibitions which have been held in
Stockholm during the early months of
this year. There remain two or three more of
enough importance to be spoken of here. The
most academic of all our art societies is “The
Society of Swedish Artists.” That is a known
fact, though one cannot always see it at their
exhibitions. This society arranged its exhibition
this year in the “ Konstnarshus,” and, as many
times before, the landscapes of Gottfrid Kallstenius
were the most prominent features of the show.
An August Day (p. 328) was perhaps his best
picture here, a copper-red cliff against a strong
blue sea. A small study, Clouds, also showed all
the best qualities of Kallstenius’s manly, unaffected
art, of which good examples were sent to the
Swedish Exhibition in Brighton. Fourother talented
landscape painters who were also well represented
at the Brighton show are Knut Borgh—to whose
intensely lyrical studies of trees reference has been
made several times in The Studio; Hugo Carlberg,
329