DOI article:
Levetus, A. S.: The spring exhibitions in Vienna
DOI Page / Citation link: https://doi.org/10.11588/diglit.43450#0056
Spring Exhibitions in Vienna
by Josef Stoitzner and Ferdinand Kruis’s picture
of a birch wood with goats are both delicate inter-
pretations. Georg Gerlach shows much skill in the
treatment of clouds, and Rudolf Hirschenhauser of
sunlight and atmosphere in his Summer afternoon
on Lake Geneva. The snowscapes by Sebastian
Isepp are highly decorative in effect; but those of
Felix Albrecht Harta, though cleverly depicted,
are somewhat hard in tone. Hans von Hayek’s
winter scenes in the mountains are excellent, and
Max Esterle, who delights in soft masses of snow
lying on the mountain slopes, skilfully handles his
subject with broad and rapid strokes. A picture
by Alfred Poll of the Ortler in storm and sun-
shine is a very characteristic expression of this
strong and rugged mountain scenery, over which
threatening clouds are hanging. Ludwig Ehrenhaft
is another thoughtful painter of snow effects.
Other interesting landscapes are Emilie Dworsky’s
Cornfields, Peter Grabwinkier’s Olive Trees on Lake
Garda, Wilhelm Legler’s glimpses of gardens with
fruit-laden trees or beds of brilliant-hued flowers
with warm undertones, dexterously handled with-
out any striving after virtuosity, and Maximilian
Lenz’s picture The Nightingale, a work of interest,
highly decorative in effect.
Richard Harlfinger has given us a Bird’s-Eye View
of Modling, with the back of the old church in the
foreground. It is a veracious transcript, and,
moreover, a work of art; every stroke of the brush
shows thought and artistic feeling. In his “ Interiors ”
he also shows the characteristics of a true artist.
Many of the Secession artists have devoted
themselves to the painting of interiors of old
palaces, lumber-rooms, and peasants’ cottages.
Alois Haenisch’s pictures of lumber-rooms reveal
a fine sentiment. Other interesting “ Interiors ” are
by Friedrich Kbnig, Hans Tichy, and Ernest Eck,
while Ernest Stbhr has given us sentiment without
sentimentality in his Kitchen, which is certainly
one of the best works shown in the present
exhibition.
Mention must be made of the tempera pictures
by Max Liebenwein and Oswald Roux, another
artist who is making rapid headway. His colora-
tion is refined and his animals and figures well
drawn and full of movement. Ludwig Sigmundt’s
sole contribution, Old Houses in Weissenkirchen (in
the Wachau), is of a rare quality. Ludwig Vacatko’s
Rossewart is vigorously handled and is a work of
real merit.
In the “Ver Sacrum” Room are some beautiful
water-colour drawings by that distinguished artist
Ludwig Rbsch, and some delicious renderings in
42
the same medium of the old city of Steyr in Upper
Austria by Carl Muller.
The work of the Polish members of the Secession
is strong in national characteristics. Only one of
them, Alfons Karpinsky, is represented by por-
traiture alone; his picture of a lady is a work of
culture and refinement. The other Poles show
greater versatility. Wladislaw Jarocki exhibits five
works, each of a different genre. His Village Church
in the Carpathians—one of those ancient wooden
churches which form so picturesque a feature in
the Ruthenian and Galician villages—is fine in
tone and colour and well set into the wild scenery.
A self-portrait bearing the title The Ski-runner is
a strong and virile work, and so is his portrait of a
man in furs against a snow-clad village. Talaga
and Slewinski have also contributed important
PORTRAIT STUDY (OIL) BY LUDWIG KUBA
( Hagenbtind, Vienna)
by Josef Stoitzner and Ferdinand Kruis’s picture
of a birch wood with goats are both delicate inter-
pretations. Georg Gerlach shows much skill in the
treatment of clouds, and Rudolf Hirschenhauser of
sunlight and atmosphere in his Summer afternoon
on Lake Geneva. The snowscapes by Sebastian
Isepp are highly decorative in effect; but those of
Felix Albrecht Harta, though cleverly depicted,
are somewhat hard in tone. Hans von Hayek’s
winter scenes in the mountains are excellent, and
Max Esterle, who delights in soft masses of snow
lying on the mountain slopes, skilfully handles his
subject with broad and rapid strokes. A picture
by Alfred Poll of the Ortler in storm and sun-
shine is a very characteristic expression of this
strong and rugged mountain scenery, over which
threatening clouds are hanging. Ludwig Ehrenhaft
is another thoughtful painter of snow effects.
Other interesting landscapes are Emilie Dworsky’s
Cornfields, Peter Grabwinkier’s Olive Trees on Lake
Garda, Wilhelm Legler’s glimpses of gardens with
fruit-laden trees or beds of brilliant-hued flowers
with warm undertones, dexterously handled with-
out any striving after virtuosity, and Maximilian
Lenz’s picture The Nightingale, a work of interest,
highly decorative in effect.
Richard Harlfinger has given us a Bird’s-Eye View
of Modling, with the back of the old church in the
foreground. It is a veracious transcript, and,
moreover, a work of art; every stroke of the brush
shows thought and artistic feeling. In his “ Interiors ”
he also shows the characteristics of a true artist.
Many of the Secession artists have devoted
themselves to the painting of interiors of old
palaces, lumber-rooms, and peasants’ cottages.
Alois Haenisch’s pictures of lumber-rooms reveal
a fine sentiment. Other interesting “ Interiors ” are
by Friedrich Kbnig, Hans Tichy, and Ernest Eck,
while Ernest Stbhr has given us sentiment without
sentimentality in his Kitchen, which is certainly
one of the best works shown in the present
exhibition.
Mention must be made of the tempera pictures
by Max Liebenwein and Oswald Roux, another
artist who is making rapid headway. His colora-
tion is refined and his animals and figures well
drawn and full of movement. Ludwig Sigmundt’s
sole contribution, Old Houses in Weissenkirchen (in
the Wachau), is of a rare quality. Ludwig Vacatko’s
Rossewart is vigorously handled and is a work of
real merit.
In the “Ver Sacrum” Room are some beautiful
water-colour drawings by that distinguished artist
Ludwig Rbsch, and some delicious renderings in
42
the same medium of the old city of Steyr in Upper
Austria by Carl Muller.
The work of the Polish members of the Secession
is strong in national characteristics. Only one of
them, Alfons Karpinsky, is represented by por-
traiture alone; his picture of a lady is a work of
culture and refinement. The other Poles show
greater versatility. Wladislaw Jarocki exhibits five
works, each of a different genre. His Village Church
in the Carpathians—one of those ancient wooden
churches which form so picturesque a feature in
the Ruthenian and Galician villages—is fine in
tone and colour and well set into the wild scenery.
A self-portrait bearing the title The Ski-runner is
a strong and virile work, and so is his portrait of a
man in furs against a snow-clad village. Talaga
and Slewinski have also contributed important
PORTRAIT STUDY (OIL) BY LUDWIG KUBA
( Hagenbtind, Vienna)