DOI Heft:
Studio-Talk
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.43448#0248
Sttidio- Talk
discovery has been made, but some names
will be remembered. It may be doubted
whether an exhibition which on the whole
only combines the weaker offerings of the
Great Berlin Art Exhibition and the ex-
cesses of the Secession will attain per-
manence in our capital. J. J.
MUNICH.—Probably very few
readers of this magazine are
aware that Germany is the
birthplace of the “ Teddy
Bear,’ which has gained universal popu-
“kit inspection”
of mondaine ladies
and excerpts from
real life, but a de-
ficiency in the pro-
portions of his
figures was notice-
able, and we missed
that depth of feel-
ing which helped
to make his father
a classic. Some
good contributions
in landscapes from
larity among the
juvenile population
of America, and
that it owes its
existence to a Sua-
bian girl, Margarete
Steiff, who was in
the habit of de-
voting her spare
time to making
comical little ele-
phants out of bits
of cloth and bright-
coloured rags and
the Alpine snow “tiie village band”
regions by Gustav
Bechler, Parisian scenes by Richard Bloos, and
pictures of Old Berlin by Bruno Bielefeld were
other items at these galleries, where also the portrait
of a prominent lawyer by M. Hermen Braun im-
pressed one by its strength of characterisation and
treatment of light.
The Salon Gurlitt surprised the admirers of the
genius of Anselm Feuerbach by a number of his
earlier French and Italian paintings, and showed
some monumental but somewhat heavy figure-paint
ings by Karl Heider. A comprehensive collection
of drawings and lithographs by ^Professor Ludwig
Pietsch demonstrated how well this veteran among
Berlin art critics was equipped for his function.
At last Berlin has seen the opening of a
“ Juryfreie Kunstschau,” where all who consider
themselves neglected by the juries of important
exhibitions could give free vent to^their craving for
publicity. Some well-known artists have supported
the venture, and it must jbe acknowledged that the
average quality of about a thousand exhibits was
superior to what had been expected. No important
“on the trapeze”
TOYS BY THE MARGARETE STEIFF
COMPANY, GIENGEN, WURTEMBERG
234
discovery has been made, but some names
will be remembered. It may be doubted
whether an exhibition which on the whole
only combines the weaker offerings of the
Great Berlin Art Exhibition and the ex-
cesses of the Secession will attain per-
manence in our capital. J. J.
MUNICH.—Probably very few
readers of this magazine are
aware that Germany is the
birthplace of the “ Teddy
Bear,’ which has gained universal popu-
“kit inspection”
of mondaine ladies
and excerpts from
real life, but a de-
ficiency in the pro-
portions of his
figures was notice-
able, and we missed
that depth of feel-
ing which helped
to make his father
a classic. Some
good contributions
in landscapes from
larity among the
juvenile population
of America, and
that it owes its
existence to a Sua-
bian girl, Margarete
Steiff, who was in
the habit of de-
voting her spare
time to making
comical little ele-
phants out of bits
of cloth and bright-
coloured rags and
the Alpine snow “tiie village band”
regions by Gustav
Bechler, Parisian scenes by Richard Bloos, and
pictures of Old Berlin by Bruno Bielefeld were
other items at these galleries, where also the portrait
of a prominent lawyer by M. Hermen Braun im-
pressed one by its strength of characterisation and
treatment of light.
The Salon Gurlitt surprised the admirers of the
genius of Anselm Feuerbach by a number of his
earlier French and Italian paintings, and showed
some monumental but somewhat heavy figure-paint
ings by Karl Heider. A comprehensive collection
of drawings and lithographs by ^Professor Ludwig
Pietsch demonstrated how well this veteran among
Berlin art critics was equipped for his function.
At last Berlin has seen the opening of a
“ Juryfreie Kunstschau,” where all who consider
themselves neglected by the juries of important
exhibitions could give free vent to^their craving for
publicity. Some well-known artists have supported
the venture, and it must jbe acknowledged that the
average quality of about a thousand exhibits was
superior to what had been expected. No important
“on the trapeze”
TOYS BY THE MARGARETE STEIFF
COMPANY, GIENGEN, WURTEMBERG
234