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#0211
The Munich Exhibition
PORTRAIT OF A LADY FROM A PAINTING BY R. SCHUSTER-WOLDAN
Himmelfahrt and this Richard III. considered more intime; and whereas his works, the outcome
together, give a good idea of the versatility, the of a deep kinship with Nature, gain their bold
imagination and the knowledge that characterise decorative effect from their own glowing natural-
our artists now that they have completely mastered ness alone, Stuck's productions are designedly
the materials under their hand, and no longer allow decorative in the striking contrasts of their brilliant
themselves to be controlled by any narrowing colouring, in the gracefulness of their shapes and
tendencies. the simplicity of their scheme. When Stuck began
One of the most powerful and distinctive indi- to paint, the pitched battles over the " New Art"
vidualities among the younger Munich artists is had already been fought, and he was able to profit
Franz Stuck. He began his career with pen-and- by the results without being obliged to go out of
ink work, of a decorative and ornamental style, and his way to do so. His own characteristics are
marked by great freshness and originality. As a clearly evident in all their attractiveness—originality,
painter he is often described as a pupil and fol- temperament, sense of form and colour—in two of
lower of Arnold Boecklin, and he certainly shows a his pictures now displayed. In the larger of these
certain affinity to this artist, in his invariable whole- —Das verlorne Paradies ("Paradise Lost")—the
someness, his happy colouring, and his love for the anatomy of the naked figures of Adam and Eve has
characters of the old world of fable—centaurs, all the masterly sureness of the old painters ; and in
sirens, and such like. the small canvas, Bacchantenzug (Procession of
Boecklin, however, is of more sensitive mould, Bacchantes), the little figures, hardly a span in
187
PORTRAIT OF A LADY FROM A PAINTING BY R. SCHUSTER-WOLDAN
Himmelfahrt and this Richard III. considered more intime; and whereas his works, the outcome
together, give a good idea of the versatility, the of a deep kinship with Nature, gain their bold
imagination and the knowledge that characterise decorative effect from their own glowing natural-
our artists now that they have completely mastered ness alone, Stuck's productions are designedly
the materials under their hand, and no longer allow decorative in the striking contrasts of their brilliant
themselves to be controlled by any narrowing colouring, in the gracefulness of their shapes and
tendencies. the simplicity of their scheme. When Stuck began
One of the most powerful and distinctive indi- to paint, the pitched battles over the " New Art"
vidualities among the younger Munich artists is had already been fought, and he was able to profit
Franz Stuck. He began his career with pen-and- by the results without being obliged to go out of
ink work, of a decorative and ornamental style, and his way to do so. His own characteristics are
marked by great freshness and originality. As a clearly evident in all their attractiveness—originality,
painter he is often described as a pupil and fol- temperament, sense of form and colour—in two of
lower of Arnold Boecklin, and he certainly shows a his pictures now displayed. In the larger of these
certain affinity to this artist, in his invariable whole- —Das verlorne Paradies ("Paradise Lost")—the
someness, his happy colouring, and his love for the anatomy of the naked figures of Adam and Eve has
characters of the old world of fable—centaurs, all the masterly sureness of the old painters ; and in
sirens, and such like. the small canvas, Bacchantenzug (Procession of
Boecklin, however, is of more sensitive mould, Bacchantes), the little figures, hardly a span in
187