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#0216
The Munich Exhibition
Boecklins and two grand works by that talented but
as yet not much known artist, Hodler. The
Americans also contribute a very mixed collection.
Side by side with much that is poor and worthless
is displayed a whole series of poetic landscapes by
Harrison, and several excellent portraits by Gari
Melchers. The Austrian and Hungarian sections
are quite commonplace, and for the most part un-
satisfactory in every wray. The rooms occupied by
the English and Scottish painters, on the contrary,
are the best in the whole exhibition. In these two
rooms not a picture is to be found which does
not bear the stamp of artistic intensity and strong
personality. Art from your side of the Channel
has never before been so brilliantly represented at
Munich. The selection of works in the case of
England was admirably made by George Sauter,
and in that of Scotland with equal taste and judg-
ment by Alexander Reid. Formerly there had
always crept in, although to a very small degree,
a certain percentage of mediocre productions
" made to sell," which this time are conspicuous
by their absence. One misses none of the famous
names which form the glory of English and Scot-
tish art—and glorious works correspond with these
glorious names.
From G. F. Watts we have, besides a large
allegorical composition, a splendid example of his
portraiture, the likeness of Mr. Henry T. Prinsep;
from Sir Edward Burne-Jones, the cycle of pictures
St. George and the Dragon, one of the painter's
earlier works; from J. M. Swan, some masterly
animal studies, and a couple of no less excellent
drawings from the nude; Maurice Greiffenhagen
contributes an Idyll; H. H. Ea Thangue, the
beautiful bit of genre, In a Cottage—Nightfall,
which was published in the December issue of
The Studio. Exquisite landscapes by Peppercorn,
Withers, Bartlett, Lindner and others, enable us to
realise how high a position has once more been
reached by English landscape painting. Among
the younger artists our attention is especially
riveted by Charles Hazlewood Shannon, with his
portrait of a Man with a Yellozv Glove; and by
Ernest Sichel, with a pleasing genre picture, and a
small and restrained, but very excellent, portrait
of himself in pastel. Robert Brough, notwith-
standing his youth, full of ripe refinement of
taste and abundant power, exhibits a portrait of
Mr. W. D. Ross. Brangwryn has sent three
masterly works—a Bacchanalian Procession, an
Italian landscape, and a Holy Family at a Well,
pictures of entirely different types, which have
nothing in common but their grandeur of concep-
PUPI'lES" FROM A PAINTING BY GEORGE PIRIE
I9I
Boecklins and two grand works by that talented but
as yet not much known artist, Hodler. The
Americans also contribute a very mixed collection.
Side by side with much that is poor and worthless
is displayed a whole series of poetic landscapes by
Harrison, and several excellent portraits by Gari
Melchers. The Austrian and Hungarian sections
are quite commonplace, and for the most part un-
satisfactory in every wray. The rooms occupied by
the English and Scottish painters, on the contrary,
are the best in the whole exhibition. In these two
rooms not a picture is to be found which does
not bear the stamp of artistic intensity and strong
personality. Art from your side of the Channel
has never before been so brilliantly represented at
Munich. The selection of works in the case of
England was admirably made by George Sauter,
and in that of Scotland with equal taste and judg-
ment by Alexander Reid. Formerly there had
always crept in, although to a very small degree,
a certain percentage of mediocre productions
" made to sell," which this time are conspicuous
by their absence. One misses none of the famous
names which form the glory of English and Scot-
tish art—and glorious works correspond with these
glorious names.
From G. F. Watts we have, besides a large
allegorical composition, a splendid example of his
portraiture, the likeness of Mr. Henry T. Prinsep;
from Sir Edward Burne-Jones, the cycle of pictures
St. George and the Dragon, one of the painter's
earlier works; from J. M. Swan, some masterly
animal studies, and a couple of no less excellent
drawings from the nude; Maurice Greiffenhagen
contributes an Idyll; H. H. Ea Thangue, the
beautiful bit of genre, In a Cottage—Nightfall,
which was published in the December issue of
The Studio. Exquisite landscapes by Peppercorn,
Withers, Bartlett, Lindner and others, enable us to
realise how high a position has once more been
reached by English landscape painting. Among
the younger artists our attention is especially
riveted by Charles Hazlewood Shannon, with his
portrait of a Man with a Yellozv Glove; and by
Ernest Sichel, with a pleasing genre picture, and a
small and restrained, but very excellent, portrait
of himself in pastel. Robert Brough, notwith-
standing his youth, full of ripe refinement of
taste and abundant power, exhibits a portrait of
Mr. W. D. Ross. Brangwryn has sent three
masterly works—a Bacchanalian Procession, an
Italian landscape, and a Holy Family at a Well,
pictures of entirely different types, which have
nothing in common but their grandeur of concep-
PUPI'lES" FROM A PAINTING BY GEORGE PIRIE
I9I