DOI article:
Levetus, A. S.: The spring exhibitions in Vienna
DOI Page / Citation link: https://doi.org/10.11588/diglit.43450#0057
Spring Exhibitions in Vienna
“crucifixion” (tempera)
(Hagenbund, Vienna)
BY OSKAR LASKE
works, as has Filipkiewicz, whose Still-life and
Flowers have their own romantic colouring. Vlas-
timil Hofmann has again sent a triptych, A Madonna
and Child, in his characteristic vein. One would
like to see this artist’s attention turned for a while
to other subjects. Wojciech Weiss’s figure of a
nude woman reclining on a red sofa can only be
regarded as an experiment; his still-life pictures
are on a far higher plane.
Some Slovene artists are exhibiting with the
Secession for the first time. They have their own
peculiar note, and their work is by no means
devoid of interest. The most talented of them are
Mathias Jama and Richard Jakopic, who are both
represented by landscapes.
As usual, graphic work is also to the fore at the
Secession. Armin Horowitz’s dry-points merit
much praise. Alois Kolb’s fantastic etchings are
very interesting, Max Pollak’s large portrait studies
show clever manipulation, Franz Wacik’s grotesque
etchings are of a refined humour, and Walter Klemm,
Anton Eichinger, and Leopold Stolba are all well
represented in this section.
Plastic art is but sparsely and inadequately
represented at the Secession this year, Alfred
Hofmann being the only exhibitor. His zinc
medals and plaquettes have certain qualities which
give distinction to his work.
The members of the Hagenbund (as the Kiinst-
lerbund Hagen is called for short) intended doing
great things in celebration of this the tenth year of
their existence, but in the midst of their preparation
the Town Council of Vienna, whose tenants they
are, suddenly gave them three months’ notice, so
that they would have had to clear out in May.
However, after the opening of the present exhibition,
and only then after much arguing, leave was
extended to August. It is a most unfortunate
matter, and one would have thought the repre-
sentatives of the people of Vienna would have
granted extension of the lease for another ten years
as they did with the Secession, especially as the
Hagenbund Gallery is just as well adapted to the
requirements of modern exhibition purposes as is
the Secession. If the authorities remain obdurate
the beautiful building erected by Josef Urban will
be handed over to some trading society, whose
members are greedy to get it. However, out
43
“crucifixion” (tempera)
(Hagenbund, Vienna)
BY OSKAR LASKE
works, as has Filipkiewicz, whose Still-life and
Flowers have their own romantic colouring. Vlas-
timil Hofmann has again sent a triptych, A Madonna
and Child, in his characteristic vein. One would
like to see this artist’s attention turned for a while
to other subjects. Wojciech Weiss’s figure of a
nude woman reclining on a red sofa can only be
regarded as an experiment; his still-life pictures
are on a far higher plane.
Some Slovene artists are exhibiting with the
Secession for the first time. They have their own
peculiar note, and their work is by no means
devoid of interest. The most talented of them are
Mathias Jama and Richard Jakopic, who are both
represented by landscapes.
As usual, graphic work is also to the fore at the
Secession. Armin Horowitz’s dry-points merit
much praise. Alois Kolb’s fantastic etchings are
very interesting, Max Pollak’s large portrait studies
show clever manipulation, Franz Wacik’s grotesque
etchings are of a refined humour, and Walter Klemm,
Anton Eichinger, and Leopold Stolba are all well
represented in this section.
Plastic art is but sparsely and inadequately
represented at the Secession this year, Alfred
Hofmann being the only exhibitor. His zinc
medals and plaquettes have certain qualities which
give distinction to his work.
The members of the Hagenbund (as the Kiinst-
lerbund Hagen is called for short) intended doing
great things in celebration of this the tenth year of
their existence, but in the midst of their preparation
the Town Council of Vienna, whose tenants they
are, suddenly gave them three months’ notice, so
that they would have had to clear out in May.
However, after the opening of the present exhibition,
and only then after much arguing, leave was
extended to August. It is a most unfortunate
matter, and one would have thought the repre-
sentatives of the people of Vienna would have
granted extension of the lease for another ten years
as they did with the Secession, especially as the
Hagenbund Gallery is just as well adapted to the
requirements of modern exhibition purposes as is
the Secession. If the authorities remain obdurate
the beautiful building erected by Josef Urban will
be handed over to some trading society, whose
members are greedy to get it. However, out
43