DOI Artikel:
Levetus, A. S.: The spring exhibitions in Vienna
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.43450#0044
Spring Exhibitions in Vienna
both of ladies. Laszlb’s portrait study of the German
Emperor seems somewhat stiff, and that of a lady
hardly reaches so high a plane as other work ex-
hibited in Budapest last autumn, while his portrait
of Monsignor Count Vay, in spite of its good
qualities, does not show the artist at his best. The
portrait of Fiirst R. by Horovitz is a very fine
achievement; his portraits of ladies have the charm
of personality and refinement. Two distinguished
portraits are exhibited by Victor Scharf, one of Prince
Dietrichstein in General’s uniform, and the other of a
lady. Schattenstein, who has rapidly made headway,
gives us, in the portrait of the dancer Fraulein Paula
Zulka, a brilliant study in red, the pose and the
rhythmical movement of the dancer being remark-
ably well rendered. This portrait, which is a marked
advance on his previous work, forms a strong contrast
to his portrait of a girl, Fraulein P. L., hanging near
it, an earnest work, harmonious in colour and refined
in treatment. Rauchinger, in his portrait of H.R.H.
Countess Wrbna, Princess of Bavaria, a slender
lady in black with remarkable auburn hair, brings
into prominence the characteristics of the Wittels-
bach family, of which the lady is a member. Robert
Schiff’s portrait of the young actress Tilly Kutschera
is a well - studied and graceful work. W. V.
Kraus, Joanowitch, Ajdukiewicz, Jehuda Epstein,
and Hans Larwin are all well represented. John
Quincy Adams’s portrait of Frau Fensa S., though
the drawing of the arms and particularly the right
one is, perhaps, open to criticism, is nevertheless a
singularly attractive work. The painter has employed
a somewhat daring colour-scheme, for the magenta-
red gauze clashes with the gold framework of the
chair ; yet there can be no doubt that Adams under-
stands the handling of his subject. In Seligmann’s
portrait of his mother the admirable rendering of
the hands is the notable feature, and Pochwalski’s
portrait of the Archduke Karl Stephan merits con-
sideration on account of the simplicity of treatment
and facial expression.
A fine view of the conglomerate of countries
composing Austria is to be had from the various
landscapes hanging on the walls. As usual there
are beautiful bits of the Wachau by Suppant-
schitsch, luminous in colouring and showing a
finely cultivated taste ; and Thomas Leitner’s broad
vision and refined manner of expression are again
in evidence. Both these artists have that power of
choosing exactly what is necessary to give roundness
and fullness to their pictorial scheme. Ranzoni has
some beautiful pictures of mediaeval churches.
Windhager again gives us one of those village scenes
of jollity and festivity which he interprets with so
much sympathy. Hugo Darnaut’s Summer in the
Vienna Forest must be ranked among the artist’s
best works. He is a keen lover of the beautiful
Wienerwald, where in the course of an afternoon’s
walk at any time of the year splendid opportunities
of observing and communing with nature are given.
Darnaut’s work here reproduced (p. 44) gives one of
its variations—undulating hills rising one above the
“a ruthenian village church, galicia” (oil)
( Kilnstlerhaus, Vienna )
BY LEO B. EICHHORN
3°
both of ladies. Laszlb’s portrait study of the German
Emperor seems somewhat stiff, and that of a lady
hardly reaches so high a plane as other work ex-
hibited in Budapest last autumn, while his portrait
of Monsignor Count Vay, in spite of its good
qualities, does not show the artist at his best. The
portrait of Fiirst R. by Horovitz is a very fine
achievement; his portraits of ladies have the charm
of personality and refinement. Two distinguished
portraits are exhibited by Victor Scharf, one of Prince
Dietrichstein in General’s uniform, and the other of a
lady. Schattenstein, who has rapidly made headway,
gives us, in the portrait of the dancer Fraulein Paula
Zulka, a brilliant study in red, the pose and the
rhythmical movement of the dancer being remark-
ably well rendered. This portrait, which is a marked
advance on his previous work, forms a strong contrast
to his portrait of a girl, Fraulein P. L., hanging near
it, an earnest work, harmonious in colour and refined
in treatment. Rauchinger, in his portrait of H.R.H.
Countess Wrbna, Princess of Bavaria, a slender
lady in black with remarkable auburn hair, brings
into prominence the characteristics of the Wittels-
bach family, of which the lady is a member. Robert
Schiff’s portrait of the young actress Tilly Kutschera
is a well - studied and graceful work. W. V.
Kraus, Joanowitch, Ajdukiewicz, Jehuda Epstein,
and Hans Larwin are all well represented. John
Quincy Adams’s portrait of Frau Fensa S., though
the drawing of the arms and particularly the right
one is, perhaps, open to criticism, is nevertheless a
singularly attractive work. The painter has employed
a somewhat daring colour-scheme, for the magenta-
red gauze clashes with the gold framework of the
chair ; yet there can be no doubt that Adams under-
stands the handling of his subject. In Seligmann’s
portrait of his mother the admirable rendering of
the hands is the notable feature, and Pochwalski’s
portrait of the Archduke Karl Stephan merits con-
sideration on account of the simplicity of treatment
and facial expression.
A fine view of the conglomerate of countries
composing Austria is to be had from the various
landscapes hanging on the walls. As usual there
are beautiful bits of the Wachau by Suppant-
schitsch, luminous in colouring and showing a
finely cultivated taste ; and Thomas Leitner’s broad
vision and refined manner of expression are again
in evidence. Both these artists have that power of
choosing exactly what is necessary to give roundness
and fullness to their pictorial scheme. Ranzoni has
some beautiful pictures of mediaeval churches.
Windhager again gives us one of those village scenes
of jollity and festivity which he interprets with so
much sympathy. Hugo Darnaut’s Summer in the
Vienna Forest must be ranked among the artist’s
best works. He is a keen lover of the beautiful
Wienerwald, where in the course of an afternoon’s
walk at any time of the year splendid opportunities
of observing and communing with nature are given.
Darnaut’s work here reproduced (p. 44) gives one of
its variations—undulating hills rising one above the
“a ruthenian village church, galicia” (oil)
( Kilnstlerhaus, Vienna )
BY LEO B. EICHHORN
3°