DOI Heft:
Studio-Talk
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.43455#0167
Studio-Talk
to issue from an unusually beautiful portrait entitled
Nanna by Anselm Feuerbach, and some male
portraits by Sir Hubert von Herkomer afforded
pleasure by their naturalness and dignity. Hans
Beatus Wieland manifested a deepfelt love for
snowy Alpine regions, where he has discovered
intimate beauties amidst peaks and glaciers and
encountered strange figures of solitary wanderers.
Paul Paeschke, the clever and delicate etcher,
evoked surprise also as a painter of actualities who
has learned to appreciate the beauty of deep colour-
harmonies. The sculptor Georg Schreyogg stood
out as a realist who seeks for expressive form and
has well grasped the teachings of ancient art.
Paul Cassirer had a surprise in store for the
connoisseurs of old art with his comprehensive
exhibition of the works of Alessandro Magnasco,
the Genoese painter-monk of baroque times. This
interesting brushman, but little known heretofore
even among experts, gave the impression at first
sight of possessing quite unusual talent. One felt,
as it were, flooded by a breath of passion and by
the ingredients of melancholy and grotesqueness so
rare to-day. One saw landscapes of the Salvator
Rosa style, glimpses of life in monasteries, guard-
rooms, taverns, and among fishermen and street-
singers which recalled Goya, Daumier, and Hogarth.
There was nervous vibration as in Tiepolo, and
enticing tonalities sparkled forth from a mysterious
chiaroscuro. A closer study, however, revealed
defects, especially in the drawing ; nevertheless one
felt grateful for the discovery of an artist who was
a spiritual and veracious chronicler of the world in
which he lived. _ J. J.
A serious gap in the ranks of German sculptors
has been left by the death of Ignatius Taschner,
who died at the end of November last at the little
village near Dachau in Bavaria where he had but
lately built himself a house. He was only forty-two,
but in the course of this all too brief lifetime had
proved himself an artist of marked individuality and
of unusual versatility ; for besides sculpture, which
became his principal vocation, he had practised as
a wood-carver, etcher, painter, potter, and as a
“WANDERING MONKS”
!52
(Schulte's Salon, Berlin)
BY HANS BEATUS WIELAND
to issue from an unusually beautiful portrait entitled
Nanna by Anselm Feuerbach, and some male
portraits by Sir Hubert von Herkomer afforded
pleasure by their naturalness and dignity. Hans
Beatus Wieland manifested a deepfelt love for
snowy Alpine regions, where he has discovered
intimate beauties amidst peaks and glaciers and
encountered strange figures of solitary wanderers.
Paul Paeschke, the clever and delicate etcher,
evoked surprise also as a painter of actualities who
has learned to appreciate the beauty of deep colour-
harmonies. The sculptor Georg Schreyogg stood
out as a realist who seeks for expressive form and
has well grasped the teachings of ancient art.
Paul Cassirer had a surprise in store for the
connoisseurs of old art with his comprehensive
exhibition of the works of Alessandro Magnasco,
the Genoese painter-monk of baroque times. This
interesting brushman, but little known heretofore
even among experts, gave the impression at first
sight of possessing quite unusual talent. One felt,
as it were, flooded by a breath of passion and by
the ingredients of melancholy and grotesqueness so
rare to-day. One saw landscapes of the Salvator
Rosa style, glimpses of life in monasteries, guard-
rooms, taverns, and among fishermen and street-
singers which recalled Goya, Daumier, and Hogarth.
There was nervous vibration as in Tiepolo, and
enticing tonalities sparkled forth from a mysterious
chiaroscuro. A closer study, however, revealed
defects, especially in the drawing ; nevertheless one
felt grateful for the discovery of an artist who was
a spiritual and veracious chronicler of the world in
which he lived. _ J. J.
A serious gap in the ranks of German sculptors
has been left by the death of Ignatius Taschner,
who died at the end of November last at the little
village near Dachau in Bavaria where he had but
lately built himself a house. He was only forty-two,
but in the course of this all too brief lifetime had
proved himself an artist of marked individuality and
of unusual versatility ; for besides sculpture, which
became his principal vocation, he had practised as
a wood-carver, etcher, painter, potter, and as a
“WANDERING MONKS”
!52
(Schulte's Salon, Berlin)
BY HANS BEATUS WIELAND