DOI issue:
No. 53 (August, 1897)
DOI article:Keyssner, Gustav: The Munich International Art Exhibition
DOI Page / Citation link:https://doi.org/10.11588/diglit.18389#0212
The Munich Exhibition
"AN APENNINE VALLEY" FROM A PAINTING BY T. MILLIE DOW
size, dancing under the Southern sun, impress the German painter in water-colours. Heinrich Ziigel
beholder most intensely with their sense of vinous is an artist of the first rank, like Landseer, Troyon,
joviality and joie de vivre. or Swan, but perfectly modern in ideas and method.
An artist of quite another order is Hugo von His reputation was established by a team of
Habermann. His nervous restless talent is ever ploughing steers, a picture expressing the same
seeking fresh artistic outlets. In each of his periods lofty simplicity as Giosue Carducci's Sonett auf den
we discover a new female model, each with a typical Ochsen. As for Ziigel, who mostly paints cattle,
setting and atmosphere. When he has fully studied sheep, and horses, an animal in his hands becomes
one type he straightway deserts it for another and a part of nature itself—not humanised, as in
a newer. At present his model is thin in figure, Landseer's tender manner, nor yet forming part
and dark in tint, a woman with nervous inexpres- of the surrounding landscape, as in Troyon's pic-
sible smile, and slender arms and hands. For his tures. His animals are something more than inci-
costumes and accessories he employs various dents in the landscape ; they are the principal part
brilliant shades, deep green, fiery red and warm of the picture. The landscape itself is with him no
violet, which he weaves into the richest harmonies, mere unsympathetic background, for the surround-
One of his most remarkable works is his life-size ings and the figures themselves are in closest
Herodias, full of piquant, enigmatic vivacity and harmony. Ziigel is a brilliant pkin-airiste, who
decadent grace. transfers his subjects to the canvas as he sees
Uhde, Stuck, and Habermann are this year the them, without being in the least concerned if
most prominent representatives of the "Seces- the rash laymen should whine about his "violet
sion"; but a goodly number of older and younger cows" or his "green horses." He treats the
painters follow them worthily. In the first place I movements and the expression of animals with
may name two artists—one, Heinrich Ziigel, as tender objectivity, without descending to caricature
undoubtedly the best of our animal painters ; the or sentimentality. A real Ziigel is his picture
other, Hans von Bartels, as the most distinguished Haiti of which we give a reproduction here.
188
"AN APENNINE VALLEY" FROM A PAINTING BY T. MILLIE DOW
size, dancing under the Southern sun, impress the German painter in water-colours. Heinrich Ziigel
beholder most intensely with their sense of vinous is an artist of the first rank, like Landseer, Troyon,
joviality and joie de vivre. or Swan, but perfectly modern in ideas and method.
An artist of quite another order is Hugo von His reputation was established by a team of
Habermann. His nervous restless talent is ever ploughing steers, a picture expressing the same
seeking fresh artistic outlets. In each of his periods lofty simplicity as Giosue Carducci's Sonett auf den
we discover a new female model, each with a typical Ochsen. As for Ziigel, who mostly paints cattle,
setting and atmosphere. When he has fully studied sheep, and horses, an animal in his hands becomes
one type he straightway deserts it for another and a part of nature itself—not humanised, as in
a newer. At present his model is thin in figure, Landseer's tender manner, nor yet forming part
and dark in tint, a woman with nervous inexpres- of the surrounding landscape, as in Troyon's pic-
sible smile, and slender arms and hands. For his tures. His animals are something more than inci-
costumes and accessories he employs various dents in the landscape ; they are the principal part
brilliant shades, deep green, fiery red and warm of the picture. The landscape itself is with him no
violet, which he weaves into the richest harmonies, mere unsympathetic background, for the surround-
One of his most remarkable works is his life-size ings and the figures themselves are in closest
Herodias, full of piquant, enigmatic vivacity and harmony. Ziigel is a brilliant pkin-airiste, who
decadent grace. transfers his subjects to the canvas as he sees
Uhde, Stuck, and Habermann are this year the them, without being in the least concerned if
most prominent representatives of the "Seces- the rash laymen should whine about his "violet
sion"; but a goodly number of older and younger cows" or his "green horses." He treats the
painters follow them worthily. In the first place I movements and the expression of animals with
may name two artists—one, Heinrich Ziigel, as tender objectivity, without descending to caricature
undoubtedly the best of our animal painters ; the or sentimentality. A real Ziigel is his picture
other, Hans von Bartels, as the most distinguished Haiti of which we give a reproduction here.
188