DOI Heft:
Studio-Talk
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.43450#0168
Studio-Talk
the chandelier. The art of painting was ever a
favourite practice at the Saxon court, and the
exhibition contained many examples of the craft of
its members, among them the late Queen Carola
and the late Princess George.
There was a small but interesting historical
section containing work by Rosa Bonheur, Therese
Judeich, Angelica Kauffmann, Anna Maria Mengs,
Anna von Oer, Berthe Morisot, Luise Seidler (the
friend of Goethe), E. Vigee-Lebrun, and others. It
is a pity that nobody has ever attempted to arrange
with sufficient care and thoroughness an “historical”
show of women’s work in art. No doubt such an
exhibition would prove that the standard of excel-
lence which the women uphold is, in proportion to
the number of practicians, as high as that of the
men.
The recent show, being a review of the best
work now being produced on the Continent, went
a fair way to prove this. Dora Hitz, Marguerite
Delorme, Rathe Kollwitz, Berthe Art, and Tina Blau
will hold their own beside any man’s pictures, and
have often done so at general exhibitions. They
were all well represented here. Naturally the
women artists of Dresden made extra efforts to
show well, and succeeded therein. Two examples
of their work are reproduced along with these lines.
H. W. S.
OPENHAGEN.—In a recent number
of The Studio some interesting ex-
amples of drawing by contemporary
Danish artists were given. Mme. Gerda
Wegener, whose pen-drawing The Three Graces is
here reproduced, is another one who has shown a
marked talent in this direction. Although she does
not exclusively confine herself to pen or chalk she
much prefers them, and has now almost discarded
the oil medium. She is altogether a child of the
day, modern, spirited and capricious, but un-
questionably clever. Her line is possessed of a
peculiar charm, a little forced, or perhaps even
with a sprinkling of the perverse at times, but more
often than not exceedingly graceful and insinuating.
“FAUN AND NYMPH
!56
(The property of H. Wicanaer, Esq., Stockholm)
BY ERNST JOSEPHSON
the chandelier. The art of painting was ever a
favourite practice at the Saxon court, and the
exhibition contained many examples of the craft of
its members, among them the late Queen Carola
and the late Princess George.
There was a small but interesting historical
section containing work by Rosa Bonheur, Therese
Judeich, Angelica Kauffmann, Anna Maria Mengs,
Anna von Oer, Berthe Morisot, Luise Seidler (the
friend of Goethe), E. Vigee-Lebrun, and others. It
is a pity that nobody has ever attempted to arrange
with sufficient care and thoroughness an “historical”
show of women’s work in art. No doubt such an
exhibition would prove that the standard of excel-
lence which the women uphold is, in proportion to
the number of practicians, as high as that of the
men.
The recent show, being a review of the best
work now being produced on the Continent, went
a fair way to prove this. Dora Hitz, Marguerite
Delorme, Rathe Kollwitz, Berthe Art, and Tina Blau
will hold their own beside any man’s pictures, and
have often done so at general exhibitions. They
were all well represented here. Naturally the
women artists of Dresden made extra efforts to
show well, and succeeded therein. Two examples
of their work are reproduced along with these lines.
H. W. S.
OPENHAGEN.—In a recent number
of The Studio some interesting ex-
amples of drawing by contemporary
Danish artists were given. Mme. Gerda
Wegener, whose pen-drawing The Three Graces is
here reproduced, is another one who has shown a
marked talent in this direction. Although she does
not exclusively confine herself to pen or chalk she
much prefers them, and has now almost discarded
the oil medium. She is altogether a child of the
day, modern, spirited and capricious, but un-
questionably clever. Her line is possessed of a
peculiar charm, a little forced, or perhaps even
with a sprinkling of the perverse at times, but more
often than not exceedingly graceful and insinuating.
“FAUN AND NYMPH
!56
(The property of H. Wicanaer, Esq., Stockholm)
BY ERNST JOSEPHSON