International studio (53.1914)

Reviews and Notices


seaport” tempera painting by MINKA I'ODHAJSKA
( Vereinigang bildender Kilnstlerinnen Oesterreichs)

Mother and Child is an
expressive rendering of
maternal devotion ; Ella
Rothe, who in her coloured
drawing Alt- Wiener Hof-—
one of three exhibited by
her -— has chosen as her
theme one of those old-
world corners of Vienna
which are rapidly vanish-
ing; Olga Brand-Krieg-
hammer, who has a pen-
chant for bright-hued
flowers; Angela Adler,
Hedwig Neumann-Pishing,
Johanna Freund, Lila
Gruner, Grete Wieden-Veit
and other painters, while
among the exhibitors of
etchings, drawings, and
lithographs reference
should be made to Marie
Ressel, Elizabeth Laske,
Marianne Frimberger,
Mariska Augustin, Berta
Czegka, Marianne Hitsch-
mann-Steinberger, and
Magda von Lerch.
A. S. L.

enamelling, and who has not only served her
apprenticeship in these crafts but has worked as
a journeywoman in France, Germany, Sweden,
Holland, and other countries and Ella Briggs-Baum-
feld, who practises as an architect; she showed a
boudoir which though somewhat glaring in its
colour-scheme was yet well designed, well arranged,
and pleasing in its details.
The pictures and drawings formed a varied dis-
play, and one was glad for once to see but few
portraits, the most notable of these being Rosa
Frankfurt’s study of a man’s head remarkable for its
characterisation, Baroness Helene Krausz’s por-
trait of an old man, excellent alike in handling and
interpretation, and Luise Fraenkel-Halm, who
showed a portrait of a little girl with a background
of gay flowers. Minka Podhajska, whose beautiful
toys will be remembered by many readers of The
Studio, is also a painter of fine feeling, as witness
her Seaport, here reproduced. Frau Harlfinger-
Zakucka, also of note as a creator of toys, likewise
showed some very interesting landscapes handled in
an individual manner. Other artists whose work
calls for mention are E. Leuze-Hirschfeld, whose

REVIEWS AND NOTICES.
The Art of the Great Masters. Frederick Lees.
(London : Sampson Low, Marston and Co. Ltd.)
f\z 12S. 6d.—This essay is written on the art of the
great masters as exemplified by drawings in the
collection of Emile Wauters. The book contains
a very large number of reproductions made with
exceptional delicacy, and it is the greatest names
the world has known that are represented. Whilst
everything is written round the drawings, the history
of Italian and Flemish art is developed in the text
in such an interesting manner that the book
becomes of the utmost value to a reader entering
upon the study of the old masters. In his intro-
duction the author has something to say which
reflects the considered opinion of many critics to-
day in regard to the future of art. He points out
that we are now face to face with a situation similar
to that which confronted Ingres when, revolting
against the art to which his fellow artists were
resigned, he discovered nature—which remains
the inexhaustible scource of beauty—through the
masters of the Renaissance, Masaccio and Raphael.
He felt the necessity, says the author, using Ingres’
253