DOI issue:
Studio-Talk
DOI Page / Citation link:https://doi.org/10.11588/diglit.43451#0093
Studio-Talk
manship and fine feeling for line which we find in
all his work with the pen.
The bust of Josef Israels by Mr. Toon Dupuis,
of which an illustration is here given, has been
acquired by the Dutch Government and placed
in the Rijks-Museum as a tribute to the memory
of the distinguished
leader of the modern
Dutch School of
painting. Mr. Dupuis
was born at Antwerp
in 1877 and is the
son of Louis Dupuis,
the well-known sculp-
tor and medail/eur.
He studied at the
Royal Academy of
Fine Arts in Antwerp;
in 1898 he settled at
The Hague and was
appointed professor at
the Academy there
when only twenty-
three. He has exe-
cuted numerous
studies and busts of
Dutch notabilities, as
well as many medals,
all these works being
modelled from the life.
Besides memorial and
portrait subjects he
has done a consider-
able number of sym-
bolic and genre
figures and decorative
works, and quite recently the architects of the
Palace of Peace at The Hague have commissioned
from him a figure representing Authority, which is
to be placed on the facade of this building. X.
CHEMNITZ.—In order to keep their
annual exhibitions within reasonable
limits the Deutsche Kiinstlerbund has
deemed it advisable to set aside all black-
and-white contributions and arrange separate shows
for these. The one for this year at Chemnitz is
the fourth instituted by the Deutsche Kiinstlerbund.
Chemnitz is the Manchester of Saxony; considerable
wealth has been amassed there, and attention is now
being directed towards the Fine Arts. The town
has built a fine general museum, part of which has
been adapted to the holding of art exhibitions.
As usual, drawings predominate in the present
show, but no longer to the extent we have been
accustomed to for the past decade. In the begin-
ning of the eighties of last century, several strong
etchers and engravers—notably Klinger—appeared
and gave an impetus to the art of etching.
Their example induced our best painters and
sculptors to try their
hand at the graphic
arts, and so there was
an important renas-
cence during the
nineties. But the in-
terest in black and
white waned very
soon, and for the
majority of practi-
tioners all manner of
etching, lithographing
and woodcut was no
more than an episode.
The present show
seems to indicate a
change. It is with
great satisfaction that
we are able to note
a general improve-
ment in the field of
etching. A number
of young artists have
entered the lists, with
work that is most
promising and al-
ready good enough
in itself. All of it
bears upon its face
the marks of true conviction and purpose.
Hans Meid I consider to be a most important
etcher. His plates look as if they had been worked
in a whirl of passion. His line is almost feverishly
nervous; even the line of Tiepolo, or Piranesi at
his wildest, appears tame in comparison. Meid is
distinctive to a degree; you can pick out his etchings
among a thousand at a glance. Some of this strong
personality is still dependent upon the weirdness
of his conception and a rather decadent style of
draughtsmanship. But he might well sober down
in both these directions, and his art would still
remain thoroughly and distinctively his own.
Wilhelm Thielmann is very quiet compared with
Meid. He owes his strength not so much to any
79
BUST OF JOSEF ISRAELS BY TOON DUPUIS
( Recently acquired by the Rijks-Museum at Amsterdam)
manship and fine feeling for line which we find in
all his work with the pen.
The bust of Josef Israels by Mr. Toon Dupuis,
of which an illustration is here given, has been
acquired by the Dutch Government and placed
in the Rijks-Museum as a tribute to the memory
of the distinguished
leader of the modern
Dutch School of
painting. Mr. Dupuis
was born at Antwerp
in 1877 and is the
son of Louis Dupuis,
the well-known sculp-
tor and medail/eur.
He studied at the
Royal Academy of
Fine Arts in Antwerp;
in 1898 he settled at
The Hague and was
appointed professor at
the Academy there
when only twenty-
three. He has exe-
cuted numerous
studies and busts of
Dutch notabilities, as
well as many medals,
all these works being
modelled from the life.
Besides memorial and
portrait subjects he
has done a consider-
able number of sym-
bolic and genre
figures and decorative
works, and quite recently the architects of the
Palace of Peace at The Hague have commissioned
from him a figure representing Authority, which is
to be placed on the facade of this building. X.
CHEMNITZ.—In order to keep their
annual exhibitions within reasonable
limits the Deutsche Kiinstlerbund has
deemed it advisable to set aside all black-
and-white contributions and arrange separate shows
for these. The one for this year at Chemnitz is
the fourth instituted by the Deutsche Kiinstlerbund.
Chemnitz is the Manchester of Saxony; considerable
wealth has been amassed there, and attention is now
being directed towards the Fine Arts. The town
has built a fine general museum, part of which has
been adapted to the holding of art exhibitions.
As usual, drawings predominate in the present
show, but no longer to the extent we have been
accustomed to for the past decade. In the begin-
ning of the eighties of last century, several strong
etchers and engravers—notably Klinger—appeared
and gave an impetus to the art of etching.
Their example induced our best painters and
sculptors to try their
hand at the graphic
arts, and so there was
an important renas-
cence during the
nineties. But the in-
terest in black and
white waned very
soon, and for the
majority of practi-
tioners all manner of
etching, lithographing
and woodcut was no
more than an episode.
The present show
seems to indicate a
change. It is with
great satisfaction that
we are able to note
a general improve-
ment in the field of
etching. A number
of young artists have
entered the lists, with
work that is most
promising and al-
ready good enough
in itself. All of it
bears upon its face
the marks of true conviction and purpose.
Hans Meid I consider to be a most important
etcher. His plates look as if they had been worked
in a whirl of passion. His line is almost feverishly
nervous; even the line of Tiepolo, or Piranesi at
his wildest, appears tame in comparison. Meid is
distinctive to a degree; you can pick out his etchings
among a thousand at a glance. Some of this strong
personality is still dependent upon the weirdness
of his conception and a rather decadent style of
draughtsmanship. But he might well sober down
in both these directions, and his art would still
remain thoroughly and distinctively his own.
Wilhelm Thielmann is very quiet compared with
Meid. He owes his strength not so much to any
79
BUST OF JOSEF ISRAELS BY TOON DUPUIS
( Recently acquired by the Rijks-Museum at Amsterdam)