DOI Heft:
Nr. 204 (February, 1914)
DOI Artikel:Studio-Talk
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.43454#0453
Studio-Talk
old German traditions. The deceased painter was
born in 1846 at Munich, and remained attached to
the Bavarian capital throughout his life. Two years
ago he received from the Prince Regent the St.
Michael Order of Merit of the Fourth Class.
The members of the Berlin Secession who have
remained loyal to the last president, Paul Cassirer,
filled all the rooms of the Secession building with an
Autumn exhibition. Former leaders of the society
such as Liebermann, Corinth and Slevogt withdrew
from the jury, and their places were filled by
younger men such as Beckmann, Brockhusen,
Pechstein, Rosier and Kolbe, with Wolfgang
Gurlitt as business manager. The character of the
exhibits showed the encouragement of technical
experiments, so that seekers after all sorts of ex-
pression were presented to publicity, and thus
rather too many raw dishes were served. Even
the large fresco designs by
Edward Munch, which
a painter by the decorative effectiveness of his work,
and Beckmann and Hofer bya quite personal display
of colour. Brockhusen’s ambitions were wasted on
religious subjects and enormous still-life paintings
which only served to expose his pedantry. Pleasing
works were shown by Fritz Rhein and E. R. Weiss,
while the young painter Claus Richter with his
whimsicality and precision of statement again
evoked astonishment as a direct descendant of
Altdorfer and Breughel. The triumph of the show
was a powerful relief representing two nude riders
on horseback and a bull by Prof. Tuaillon, which
taught that greatness in art can only be attained by
humble submission to nature and freest sway
over it.
The Kiinstlerhaus, which is now placed under the
direction of the well-known etcher, Hermann
Hirzel, honoured Martin Brandenburg with a
filled the central hall, failed
to convince of a mature
art and laid bare in ex-
tensive frames poverty of
invention and thinness of
colour. Picasso was to
be studied in various de-
partures from his own
tenets ; deep-felt social in-
stincts and dreamy moods
were visualised in a high
style of draughtsmanship,
but the total impression of
this artistic personality
remained one of dissatis-
faction owing to its con-
tradictoriness. W. Rosier’s
tendency towards expres-
sive simplification has not
yet led this landscapist to
satisfactory results, but the
same endeavour assisted
Moritz Melzer to the
achievement of strong
fresco effects in his re-
ligious subjects. Erbsloh
again attained dignity of
form and colour in his
statuesque female nudes,
and Pechstein showed
himself fiercely energetic.
The etcher Hans Meid
proved interesting also as
SELF-PORTRAIT
BY KARL HAIDER
3I9
old German traditions. The deceased painter was
born in 1846 at Munich, and remained attached to
the Bavarian capital throughout his life. Two years
ago he received from the Prince Regent the St.
Michael Order of Merit of the Fourth Class.
The members of the Berlin Secession who have
remained loyal to the last president, Paul Cassirer,
filled all the rooms of the Secession building with an
Autumn exhibition. Former leaders of the society
such as Liebermann, Corinth and Slevogt withdrew
from the jury, and their places were filled by
younger men such as Beckmann, Brockhusen,
Pechstein, Rosier and Kolbe, with Wolfgang
Gurlitt as business manager. The character of the
exhibits showed the encouragement of technical
experiments, so that seekers after all sorts of ex-
pression were presented to publicity, and thus
rather too many raw dishes were served. Even
the large fresco designs by
Edward Munch, which
a painter by the decorative effectiveness of his work,
and Beckmann and Hofer bya quite personal display
of colour. Brockhusen’s ambitions were wasted on
religious subjects and enormous still-life paintings
which only served to expose his pedantry. Pleasing
works were shown by Fritz Rhein and E. R. Weiss,
while the young painter Claus Richter with his
whimsicality and precision of statement again
evoked astonishment as a direct descendant of
Altdorfer and Breughel. The triumph of the show
was a powerful relief representing two nude riders
on horseback and a bull by Prof. Tuaillon, which
taught that greatness in art can only be attained by
humble submission to nature and freest sway
over it.
The Kiinstlerhaus, which is now placed under the
direction of the well-known etcher, Hermann
Hirzel, honoured Martin Brandenburg with a
filled the central hall, failed
to convince of a mature
art and laid bare in ex-
tensive frames poverty of
invention and thinness of
colour. Picasso was to
be studied in various de-
partures from his own
tenets ; deep-felt social in-
stincts and dreamy moods
were visualised in a high
style of draughtsmanship,
but the total impression of
this artistic personality
remained one of dissatis-
faction owing to its con-
tradictoriness. W. Rosier’s
tendency towards expres-
sive simplification has not
yet led this landscapist to
satisfactory results, but the
same endeavour assisted
Moritz Melzer to the
achievement of strong
fresco effects in his re-
ligious subjects. Erbsloh
again attained dignity of
form and colour in his
statuesque female nudes,
and Pechstein showed
himself fiercely energetic.
The etcher Hans Meid
proved interesting also as
SELF-PORTRAIT
BY KARL HAIDER
3I9