DOI Heft:
No. 41 (August, 1896)
DOI Artikel:Studio-talk
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.17297#0197
Studio- Talk
" LA MARCH A FROM A PAINTING BY C. PUGLIESE-LE VI
quattrocentist purity of style, without its breadth ; Between the pictures we come across occasional
but really artistic and intellectual productions, pieces of ivory panelled furniture from Japan, and
nevertheless. the floors are covered by carpets from Persia,
G. B. making the stay more palatable for the lounger
than at the ordinary stores stuffed with every
IENNA.—It is not very often that we description of the " fine arts " that " will sell."
meet with an art dealer possessing the
Vtrue taste of a connoisseur. The Englishmen will find some good specimens of
recently opened gallery in the Doro- modern Scotch landscapes by Brown and Nisbet,
theergasse proves the exception to and a lively sketch by Lavery; in addition a
the rule. In the midst of the "dead season," Mr. splendid little sketch by that most independent of
H. O. Miethke has opened a collection of old and artists, the father of landscapists, John Constable,
modern masters. There is an atmosphere about This must certainly be considered quite a curiosity
these rooms that gives one the distinct impression outside of Great Britain. Among the Flemish
of a taste and discrimination, not of that kind masters a large Rubens stands foremost, but the
which values a work of art only by the price it may Dutchmen are even better represented by a
fetch at an auction sale. The upper rooms are Terburg, a small, very fine silvery-toned Ruysdael,
arranged in the character of a private collection, a Hobbema, and others,
and the first salon is devoted exclusively to
Lenbach, who took the pains to arrange his fine In the autumn there will be an exhibition of the
portrait collection himself. In the second room old masters from the rich private collections of
we find Makart, that colour-inspired genius of Vienna; and in addition to that, perhaps, also a
sudden renown and quick oblivion. His Five collection of prints and colour prints from the
Senses still seem to brave destruction in spite of all British caricaturists of the eighteenth century, after
predictions to the contrary; the flesh tints are as the time of Hogarth.
fresh as ever, and the canvases without a flaw. W. S.
180
" LA MARCH A FROM A PAINTING BY C. PUGLIESE-LE VI
quattrocentist purity of style, without its breadth ; Between the pictures we come across occasional
but really artistic and intellectual productions, pieces of ivory panelled furniture from Japan, and
nevertheless. the floors are covered by carpets from Persia,
G. B. making the stay more palatable for the lounger
than at the ordinary stores stuffed with every
IENNA.—It is not very often that we description of the " fine arts " that " will sell."
meet with an art dealer possessing the
Vtrue taste of a connoisseur. The Englishmen will find some good specimens of
recently opened gallery in the Doro- modern Scotch landscapes by Brown and Nisbet,
theergasse proves the exception to and a lively sketch by Lavery; in addition a
the rule. In the midst of the "dead season," Mr. splendid little sketch by that most independent of
H. O. Miethke has opened a collection of old and artists, the father of landscapists, John Constable,
modern masters. There is an atmosphere about This must certainly be considered quite a curiosity
these rooms that gives one the distinct impression outside of Great Britain. Among the Flemish
of a taste and discrimination, not of that kind masters a large Rubens stands foremost, but the
which values a work of art only by the price it may Dutchmen are even better represented by a
fetch at an auction sale. The upper rooms are Terburg, a small, very fine silvery-toned Ruysdael,
arranged in the character of a private collection, a Hobbema, and others,
and the first salon is devoted exclusively to
Lenbach, who took the pains to arrange his fine In the autumn there will be an exhibition of the
portrait collection himself. In the second room old masters from the rich private collections of
we find Makart, that colour-inspired genius of Vienna; and in addition to that, perhaps, also a
sudden renown and quick oblivion. His Five collection of prints and colour prints from the
Senses still seem to brave destruction in spite of all British caricaturists of the eighteenth century, after
predictions to the contrary; the flesh tints are as the time of Hogarth.
fresh as ever, and the canvases without a flaw. W. S.
180