International studio (51.1913/1914)

Studio-Talk

AMBURG.—The fifth Graphic Art
exhibition of the Deutscher Kiinstler-
bund at the Commeter Galleries pre-
sented to amateurs and collectors of
modern art an interesting series of etchings, dry-
points, lithographs, woodcuts and drawings. Max
Klinger (portraits of Counts Leopold and Johann
von Kalchreuth and of the poet Stephan George),
Count Kalckreuth, Emil Orlik, Max Liebermann,
Hans Olde and Carl Moser were conspicuous, and
among the younger generation of German draughts-
men I may mention Shinnerer, Hans Meid, Max
Oppenheimer, Ernst Oppier, Fr. Weinzheimer,
Marcus Behmer, Greve-Lindau, Arthur lilies
(portrait-etching of Detier von Liliencron and
Otto Ernst), Ludwig Kainer and Ingwer Paulsen.
Moritz Melzer was awarded the Villa Romana
prize (one year’s study at Florence) for a collection

of coloured woodcuts giving expression to a
whimsical conceit in looking at potteries, earthen-
ware and glazed majolica

Ludwig Kainer’s drawings of the Russian dancers
Karsavina, Bolm and Nijinsky were notable for
instantaneous' grasp of rhythm and rapid move-
ment, combined with a little sprinkling of vivid
colour. Ingwer Paulsen’s large-sized architectural
etchings, embodying the results of visits to Venice
and Belgium, showed distinct proof of a growing
depth of perception and technical skill, while E rnst
Oppier chose similar motives to those of Kainer in
his fine etchings The Spirit of the Rose and the
Russian Ballet of Anna Pavlova. Among the lady
artists, Margerete Geibel’s coloured ■woodcuts of
Weimar interiors with their classic reminiscences,
Margerete Havemann’s Blankenese (Lower Elbe),



“THE EARLY MORNING BOAT, HAMBURG HARBOUR
76

BY SELLA HASSE