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#0214
The Munich Exhibition
Although the luminous colouring is not fully
realised in black and white, one may still form an
idea therefrom of the grandeur of the artist's con-
ception and the bold character of the work. Note
the authoritative dignity with which the sharp and
watchful shepherd's dog stands at the head of his
charges, who patiently and in dull astonishment
wait for the passing of the railway train—which we
conceive to be between the picture and the be-
holder—happily indicated by the smoke of the
engine in the right-hand upper portion of the
canvas.
Hans von Bartels is a native of Hamburg, and
although Munich has become his second home, he
spends the summer—the landscape painter's study-
time—at the seaside. P'or the sea, with its cliffs
•and its ships, the fishing villages with their in-
habitants, their life and work, are the principal
themes of his art, of which the exhibition con-
tains two excellent samples. Both are water-
colours, and portray scenes on the seashore, with
figures. Such dimensions—especially in Germany
—are exceptional in water-colour painting; but in
the presence of these pictures one forgets the un-
usual combination of size and technique, so natural
does it all appear. Die Fran des Fischers (The
Fisherman's Wife) is a genre picture devoid of all
anecdotal trivialities, appealing to the artistic sense
by its warm, harmonious colouring, and notable for
the powerful silhouette of the woman and her
child, enveloped in the damp sea air, which rises
from the spray of the yellowish waves around.
Amongst the figure painters may also be men-
tioned Max Slevogt, one of the most able of the
younger generation, remarkable for his strong
sense of colour, as exemplified in his Scheherezade ;
and Otto Hierl-Deronco, whose Fandango is one of
the largest pictures in the " Secession " section. It is
somewhat strange in its composition, but is a very
delicate piece of colouring. Seeing a Spanish
dancer, one must needs think at once of Sargent's
Carmencita in the Luxembourg; but the similarity
is only external, and comparison with the incom-
parable is unjust. Of the many good portraits
shown by the " Secession," our countryman, George
Sauter, who has made his home in London for
DAFFODILS
FROM A PAINTING BY STUART PARK
1S0
Although the luminous colouring is not fully
realised in black and white, one may still form an
idea therefrom of the grandeur of the artist's con-
ception and the bold character of the work. Note
the authoritative dignity with which the sharp and
watchful shepherd's dog stands at the head of his
charges, who patiently and in dull astonishment
wait for the passing of the railway train—which we
conceive to be between the picture and the be-
holder—happily indicated by the smoke of the
engine in the right-hand upper portion of the
canvas.
Hans von Bartels is a native of Hamburg, and
although Munich has become his second home, he
spends the summer—the landscape painter's study-
time—at the seaside. P'or the sea, with its cliffs
•and its ships, the fishing villages with their in-
habitants, their life and work, are the principal
themes of his art, of which the exhibition con-
tains two excellent samples. Both are water-
colours, and portray scenes on the seashore, with
figures. Such dimensions—especially in Germany
—are exceptional in water-colour painting; but in
the presence of these pictures one forgets the un-
usual combination of size and technique, so natural
does it all appear. Die Fran des Fischers (The
Fisherman's Wife) is a genre picture devoid of all
anecdotal trivialities, appealing to the artistic sense
by its warm, harmonious colouring, and notable for
the powerful silhouette of the woman and her
child, enveloped in the damp sea air, which rises
from the spray of the yellowish waves around.
Amongst the figure painters may also be men-
tioned Max Slevogt, one of the most able of the
younger generation, remarkable for his strong
sense of colour, as exemplified in his Scheherezade ;
and Otto Hierl-Deronco, whose Fandango is one of
the largest pictures in the " Secession " section. It is
somewhat strange in its composition, but is a very
delicate piece of colouring. Seeing a Spanish
dancer, one must needs think at once of Sargent's
Carmencita in the Luxembourg; but the similarity
is only external, and comparison with the incom-
parable is unjust. Of the many good portraits
shown by the " Secession," our countryman, George
Sauter, who has made his home in London for
DAFFODILS
FROM A PAINTING BY STUART PARK
1S0