Studio: international art (11.1897)

The Munich Exhibition

"halt" from a tainting by iieinrich zugel

many years, contributes a couple—the likeness of Curtains worked in gold separate the middle of the

a high dignitary of the Church, strikingly true in picture from the side portions, which continue the

the by no means idealistic reproduction of the face, landscape ; and beautiful garlands of roses close

but with the violet habit most artistically disposed; the picture above and below.

and an attractive double portrait, most original in The rooms of the " Luitpold " section have

composition, and very tasteful in the arrangement much in common with those of the "Secession

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of the colours. - . The members of this group have also imposed

One of the best exhibits of the u Luitpold " upon their jury the duty of the most rigid selection,

group is a portrait. It represents a lady dressed and they have thus contrived to hang a com-

in white, and sitting on the green-sward. The paratively small number of pictures in such a

noble, intelligent face of the sitter, with her large manner that each one obtains its full effect without

dark eyes and black hair, and soft pensive smile, injuring others or being injured itself. Few works

well matched by the slight nervous hands, is in of special merit, but a high all-round average, that

admirable harmony with the semi-melancholy of is the distinctive feature of this group. Besides

the evening landscape ; and the big dog who sits the works of Schuster-Woldan, the powerful por-

watching in the foreground completes the picture. traits of Fritz Erler, and a very attractive portrait of

The colours in the face, the dress, and the scenery himself by the excellent Tyrolese painter, Defregger,

are delightful, and suggest the greatest masters of there are a large number of good landscapes, of

portraiture—the Venetians of the sixteenth, the the simple, industrious, sentimental, home-loving

Dutch of the seventeenth, and the English of the kind, peculiar to Munich landscape painting

eighteenth century. The painter of this portrait, since the days of Spitzweg and Schleich. Among

Raffael Schuster-Woldan, is possessed of a strong them may be noted pictures by Hugo Burgel, G.

individuality, remarkable in so young an artist, von Canal, Paul Hey, Otto Striitzel, and others. '
Another picture, exhibited by the same artist, Auf Amongst the foreign nations taking part in the

freier Hdhe, is very peculiar. In a sunlit mountain exhibition, the Belgians and Dutch are well and

landscape of the south is seated a nude girl, and worthily represented. The exhibits of the Swiss

against her leans a man, dark-bearded and dressed painters, on the other hand, are indifferent,

in black, kissing her neck in dreamy abandonment. although we find amongst them a few beautiful
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