DOI Heft:
No. 54 (September, 1897)
DOI Artikel:Studio-talk
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.18389#0302
Studio- Talk
South which for ages past has produced most of the themselves, but come to us when we seek them,
painters whose names are famous in the history of And they speak a silent language, audible only to
German art. At the period when Dora Hitz grew up those gifted with a fine artistic sense,
all roads from Munich led to Paris. There she lived -
for some time, fought a hard fight amid constant The artist has made harmony of colour her first
difficulties, and ripened into what she now is—a endeavour. But this one characteristic does not
pioneer of the modern art tendency in Germany, exhaust the resources of her art; for below the
While in Paris, strangely enough, she worked in luminous surface we note a deep human feeling,
the atelier of two fashionable painters ; but Carriere Thus the mother and child she represents in close
alone had any influence upon her. And this, embrace admits of no comparison with anything
although she was not his pupil in the strict sense of in the world. The feelings and sensations of men
the word, led to her success. have ever been the same; but each epoch of art
- seeks to find for them fresh and adequate expres-
Dora Hitz has lived now for some time in Berlin, sion. _
admired by a select circle, including the best artists,
such as Liebermann, L. von Hofmann, and Kop- The following story may serve as a proof that
ping—indefatigable in her
own creative work, as well
as in teaching. Although
there has been so far no
official recognition of her
work, she could have been
paid no more flattering
distinction than when the
XL, the elite of our
modern painters, elected
her a member of their
body. _
When I come to con-
sider the many pictures
by Dora Hitz which I
have seen, I divide them
into two groups. One
consists of indoor figures
with the light tempered
by curtains; the other, of
figures seen in the open
air, with sunlight pouring
down through the foliage,
and surrounding the sub-
ject with ever-varying light
and shade—not the plein
air which blinds one, but
the daylight which we
have continually around
us, and can bear without
any effect on the eyes. It
follows from this that Dora
Hitz's pictures are works
of art which we may be
content to live with and
have around us at all
times. They do not assert portrait of a child by doka hitz
272
South which for ages past has produced most of the themselves, but come to us when we seek them,
painters whose names are famous in the history of And they speak a silent language, audible only to
German art. At the period when Dora Hitz grew up those gifted with a fine artistic sense,
all roads from Munich led to Paris. There she lived -
for some time, fought a hard fight amid constant The artist has made harmony of colour her first
difficulties, and ripened into what she now is—a endeavour. But this one characteristic does not
pioneer of the modern art tendency in Germany, exhaust the resources of her art; for below the
While in Paris, strangely enough, she worked in luminous surface we note a deep human feeling,
the atelier of two fashionable painters ; but Carriere Thus the mother and child she represents in close
alone had any influence upon her. And this, embrace admits of no comparison with anything
although she was not his pupil in the strict sense of in the world. The feelings and sensations of men
the word, led to her success. have ever been the same; but each epoch of art
- seeks to find for them fresh and adequate expres-
Dora Hitz has lived now for some time in Berlin, sion. _
admired by a select circle, including the best artists,
such as Liebermann, L. von Hofmann, and Kop- The following story may serve as a proof that
ping—indefatigable in her
own creative work, as well
as in teaching. Although
there has been so far no
official recognition of her
work, she could have been
paid no more flattering
distinction than when the
XL, the elite of our
modern painters, elected
her a member of their
body. _
When I come to con-
sider the many pictures
by Dora Hitz which I
have seen, I divide them
into two groups. One
consists of indoor figures
with the light tempered
by curtains; the other, of
figures seen in the open
air, with sunlight pouring
down through the foliage,
and surrounding the sub-
ject with ever-varying light
and shade—not the plein
air which blinds one, but
the daylight which we
have continually around
us, and can bear without
any effect on the eyes. It
follows from this that Dora
Hitz's pictures are works
of art which we may be
content to live with and
have around us at all
times. They do not assert portrait of a child by doka hitz
272