DOI issue:
Studio-Talk
DOI Page / Citation link:https://doi.org/10.11588/diglit.43455#0251
Studio-Talk
“la MENAGERE.” WOOD-ENGRAVING BYAMEDEE wetter
(See Paris .Studio-Talk)
The society enjoys the support of a number of
subscribers, but it derives no part of its income from
the city rates. Its management is entirely carried
on by the gratuitous services of its more active
resident members, among whom the very able
honorary secretary, Mr. W. J. Wainwright, R.W.S.,
takes the lion’s share of work. The
tion, while the interest of the exhibition has
been much enhanced. If this method can be
carried still further, so as to secure separate
grouping for the individual artists, there can be
little doubt that a still greater advance will be
made.
BERLIN. — In Casper’s Salon some
landscapes from Southern France with
fine portrayal of atmosphere effects,
witnessed to the carefully developing art
of Felix Borchardt. Hans Hartig’s characteristi-
cally grasped Spring Tide in Westerland made
one realise the dangers of the North Sea. Ernst
Liebermann stood out as a clever and careful
painter of the female nude, and Ulrich Hiibner
as a sea painter. One could admire Friedrich
Kalimorgen for his ability to grasp a scene of
city life with all the drama of its intercourse.
Among various graphic exhibits of notable
quality the Hill Path by Walter Leistikow made
an instant appeal by its convincing proof of
direct contact with nature. One could hardly be
persuaded at first sight, that the intarsia pictures
by Oskar Haberer were not oil-paintings. Animals,
figure-compositions, and landscapes showed the
acute observer and reliable draughtsman who
achieves beautiful colour melodies with his mosaics
of wood. In these the textures of different woods
are cleverly selected and manipulated to represent
society is one of the very few institu-
tions of its kind that are entirely
managed by artists. The recent exhi-
bition was confined to the works of
members and associates, but there is
every intention that other exhibitions
shall be held, in which other artists, and
especially those of the Midlands, will
have an opportunity of showing their
work to the Birmingham public. There
are twenty-nine members and thirty
associates in the society, and though
there is a very wide divergence of aim
and outlook among the members, this
has not been found incompatible with
harmonious working to mutual ad-
vantage. Perhaps the chief line of
demarcation lies between the Decora-
tive or Pre-Raphaelite group, and the
other . members and associates. By
hanging the works of these two sections
on separate walls or screens, each has
derived advantage from the classifica-
236
“PAYSAGE”
WOOD-ENGRAVING BY R. GRILLON
(See Paris Studio-Talk)
“la MENAGERE.” WOOD-ENGRAVING BYAMEDEE wetter
(See Paris .Studio-Talk)
The society enjoys the support of a number of
subscribers, but it derives no part of its income from
the city rates. Its management is entirely carried
on by the gratuitous services of its more active
resident members, among whom the very able
honorary secretary, Mr. W. J. Wainwright, R.W.S.,
takes the lion’s share of work. The
tion, while the interest of the exhibition has
been much enhanced. If this method can be
carried still further, so as to secure separate
grouping for the individual artists, there can be
little doubt that a still greater advance will be
made.
BERLIN. — In Casper’s Salon some
landscapes from Southern France with
fine portrayal of atmosphere effects,
witnessed to the carefully developing art
of Felix Borchardt. Hans Hartig’s characteristi-
cally grasped Spring Tide in Westerland made
one realise the dangers of the North Sea. Ernst
Liebermann stood out as a clever and careful
painter of the female nude, and Ulrich Hiibner
as a sea painter. One could admire Friedrich
Kalimorgen for his ability to grasp a scene of
city life with all the drama of its intercourse.
Among various graphic exhibits of notable
quality the Hill Path by Walter Leistikow made
an instant appeal by its convincing proof of
direct contact with nature. One could hardly be
persuaded at first sight, that the intarsia pictures
by Oskar Haberer were not oil-paintings. Animals,
figure-compositions, and landscapes showed the
acute observer and reliable draughtsman who
achieves beautiful colour melodies with his mosaics
of wood. In these the textures of different woods
are cleverly selected and manipulated to represent
society is one of the very few institu-
tions of its kind that are entirely
managed by artists. The recent exhi-
bition was confined to the works of
members and associates, but there is
every intention that other exhibitions
shall be held, in which other artists, and
especially those of the Midlands, will
have an opportunity of showing their
work to the Birmingham public. There
are twenty-nine members and thirty
associates in the society, and though
there is a very wide divergence of aim
and outlook among the members, this
has not been found incompatible with
harmonious working to mutual ad-
vantage. Perhaps the chief line of
demarcation lies between the Decora-
tive or Pre-Raphaelite group, and the
other . members and associates. By
hanging the works of these two sections
on separate walls or screens, each has
derived advantage from the classifica-
236
“PAYSAGE”
WOOD-ENGRAVING BY R. GRILLON
(See Paris Studio-Talk)