DOI Heft:
No. 53 (August, 1897)
DOI Artikel:Keyssner, Gustav: The Munich International Art Exhibition
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.18389#0208
The Munich Exhibition
of parting, and devoted himself to laying stress colour sense. A picture must now be something
upon the anguish of separation as depicted on the more than a mere piece of actuality ; it must re-
faces of the sorrow-stricken men and women veal the result of a real artistic experience of
around, as they behold their Comforter and Master Nature's workings. In this we are getting back to
taken up into the clouds and removed from their the fundamental principles of the old-time schools,
midst for ever. There is nothing loud or theatrical which, without slavish imitation, we are now be-
in these figures ; and, like the arrangement and ginning to understand and appreciate better than
everything else about the scheme of the picture, the we did.
colouring is of the simplest, with its grey-white Fritz von Uhde's Richard III. affords a case in
sky and cloud-hidden light. Uhde, however, has point. It is a life-size figure showing a well-known
in no way severed himself from the movement, Munich tragedian in the character of the crowned
which for some time past has been influencing our miscreant, clad in full armour in the midst of
painting—a movement which, while it seems to the fight, and crying in Shakespeare's words,
indicate a return to the older fashions, yet includes " A horse ! a horse ! my kingdom for a horse ! "
a thorough sense of truth and a complete mastery But it is not the situation nor the characterisa-
of our modern methods. Our plein air painters in tion, powerfully as they are realised, that con-
their efforts to master the problems of light have stitute the strength of the picture. This lies in
quite discarded the old unreal traditions, and now the rich and powerful colour scheme, which
that they have a better comprehension of the sub- combines the deep red and blue of the gold-
ject, they are coming to discover all the magic and embroidered mantle, with the black surface of the
the inner meaning of colour. " Grey-painting" is coat of mail, and the bright reflections of the flames
at an end ; we are in the midst of a renaissance of lighting up the dark background of night. The
BY THE SUMMER SEA " FROM A PAINTING BY DAVID MARTIN
184
of parting, and devoted himself to laying stress colour sense. A picture must now be something
upon the anguish of separation as depicted on the more than a mere piece of actuality ; it must re-
faces of the sorrow-stricken men and women veal the result of a real artistic experience of
around, as they behold their Comforter and Master Nature's workings. In this we are getting back to
taken up into the clouds and removed from their the fundamental principles of the old-time schools,
midst for ever. There is nothing loud or theatrical which, without slavish imitation, we are now be-
in these figures ; and, like the arrangement and ginning to understand and appreciate better than
everything else about the scheme of the picture, the we did.
colouring is of the simplest, with its grey-white Fritz von Uhde's Richard III. affords a case in
sky and cloud-hidden light. Uhde, however, has point. It is a life-size figure showing a well-known
in no way severed himself from the movement, Munich tragedian in the character of the crowned
which for some time past has been influencing our miscreant, clad in full armour in the midst of
painting—a movement which, while it seems to the fight, and crying in Shakespeare's words,
indicate a return to the older fashions, yet includes " A horse ! a horse ! my kingdom for a horse ! "
a thorough sense of truth and a complete mastery But it is not the situation nor the characterisa-
of our modern methods. Our plein air painters in tion, powerfully as they are realised, that con-
their efforts to master the problems of light have stitute the strength of the picture. This lies in
quite discarded the old unreal traditions, and now the rich and powerful colour scheme, which
that they have a better comprehension of the sub- combines the deep red and blue of the gold-
ject, they are coming to discover all the magic and embroidered mantle, with the black surface of the
the inner meaning of colour. " Grey-painting" is coat of mail, and the bright reflections of the flames
at an end ; we are in the midst of a renaissance of lighting up the dark background of night. The
BY THE SUMMER SEA " FROM A PAINTING BY DAVID MARTIN
184