DOI issue:
No. 59 (February, 1898)
DOI article:Studio-talk
DOI Page / Citation link:https://doi.org/10.11588/diglit.18391#0067
Studio- Talk
us through the medium of a large number of round the monument proper, as if nothing could
plastic works, and conclusively shows that the be done without allegory ! Have we after all
most vigorous naturalism may be allied to indi- learned nothing from the errors of the baroque
viduality of style, and that this union leads to the school of sculptors, most of whose creations appear
production of great works of art. The Meunier intolerable nowadays from the way in which
collection was hailed with enthusiasm at the In- fantastic allegorical auxiliaries are massed around
ternational Art Exhibition in Dresden; and it is them ? The design by the Munich sculptor,
to be hoped the impression made in Berlin by R. Maison, was most unfortunate in its effect,
these, for the most part small, productions, may be owing to his genre-like conception of Bismarck,
deep and enduring. who was represented seated in an armchair; but
-- it was excellent so far as concerned the base, all
Meunier's subjects are mainly inspired by the the lines leading up to the figure in the centre,
life of the miner and the peasant—brawny figures, and the two groups were also very effective,
with sinews strengthened by their daily toil, and G. G.
muscles that seem as though made of steel.
Meunier hardly ever enters into minute detail, ^ USSELDORF.—" Seek solitude " was
which, from the small size of his figures, would only % the deep-meaning exhortation of the
hamper him. His motif is always as simple as I great philosophers of old; and its
possible, and even the most extreme physical effort M wisdom has been shown again and
depicted never appears exaggerated. The very again. A recent instance was
features of his subjects are simplicity itself in afforded by the exhibition of works by the group of
expression, and thus they gain a grandeur amount- young artists who a few years ago took up their
ing almost to sublimity in its effect; for each abode in the remote village of Worpswede. At the
figure is a monument. Munich International Art Exhibition of 1895 their
-- fresh and soulful work evoked universal wonder and
Just as Meunier proves himself great in his admiration. Chief among these new exhibitors
plainest, smallest wrorks, so the designs for the were Fritz Overbeck, who still tarries at Worpswede;
Bismarck monument in Berlin, exhibited at the Hans am Ende, Otto Modersohn, Carl Vinnen,
Academy, clearly show how poor may be the Fritz Mackensen, and Heinrich Vogeler.
effects obtained even by a vast expenditure of --
effort and material. The sculptor, Reinhold Begas, It is of the last-named artist I propose to say a
has been adjudged the winner in the competition, few words now, by way of accompaniment to the
He sent in the only practicable design; and thus examples of his work, reproduced here,
it is he who will provide Berlin with its fourth -
great memorial. He, like many others, has Born on December 12, 1872, Vogeler received
made the mistake of placing allegorical figures his early art training at the Diisseldorf Academy,
as a pupil of Professor A.
Kampf, studying afterwards
at Worpswede under the
guidance of the grave and
earnest Fritz Mackensen,
already mentioned. Two
years ago he settled down
permanently in this far-
away spot, where he bought
a little, old, straw-thatched
peasant cottage and a few
acres of land. Here there
is nought to disturb the
poetic quiet of his days,
no busy life around, no din
of factory, no throbbing
engines. Here all his
DAS MADC 11 EN UNI) DIE KAKEN " FROM AN ETCHING BY HEINRICH VOUELEK platCS WCre produced-
52
us through the medium of a large number of round the monument proper, as if nothing could
plastic works, and conclusively shows that the be done without allegory ! Have we after all
most vigorous naturalism may be allied to indi- learned nothing from the errors of the baroque
viduality of style, and that this union leads to the school of sculptors, most of whose creations appear
production of great works of art. The Meunier intolerable nowadays from the way in which
collection was hailed with enthusiasm at the In- fantastic allegorical auxiliaries are massed around
ternational Art Exhibition in Dresden; and it is them ? The design by the Munich sculptor,
to be hoped the impression made in Berlin by R. Maison, was most unfortunate in its effect,
these, for the most part small, productions, may be owing to his genre-like conception of Bismarck,
deep and enduring. who was represented seated in an armchair; but
-- it was excellent so far as concerned the base, all
Meunier's subjects are mainly inspired by the the lines leading up to the figure in the centre,
life of the miner and the peasant—brawny figures, and the two groups were also very effective,
with sinews strengthened by their daily toil, and G. G.
muscles that seem as though made of steel.
Meunier hardly ever enters into minute detail, ^ USSELDORF.—" Seek solitude " was
which, from the small size of his figures, would only % the deep-meaning exhortation of the
hamper him. His motif is always as simple as I great philosophers of old; and its
possible, and even the most extreme physical effort M wisdom has been shown again and
depicted never appears exaggerated. The very again. A recent instance was
features of his subjects are simplicity itself in afforded by the exhibition of works by the group of
expression, and thus they gain a grandeur amount- young artists who a few years ago took up their
ing almost to sublimity in its effect; for each abode in the remote village of Worpswede. At the
figure is a monument. Munich International Art Exhibition of 1895 their
-- fresh and soulful work evoked universal wonder and
Just as Meunier proves himself great in his admiration. Chief among these new exhibitors
plainest, smallest wrorks, so the designs for the were Fritz Overbeck, who still tarries at Worpswede;
Bismarck monument in Berlin, exhibited at the Hans am Ende, Otto Modersohn, Carl Vinnen,
Academy, clearly show how poor may be the Fritz Mackensen, and Heinrich Vogeler.
effects obtained even by a vast expenditure of --
effort and material. The sculptor, Reinhold Begas, It is of the last-named artist I propose to say a
has been adjudged the winner in the competition, few words now, by way of accompaniment to the
He sent in the only practicable design; and thus examples of his work, reproduced here,
it is he who will provide Berlin with its fourth -
great memorial. He, like many others, has Born on December 12, 1872, Vogeler received
made the mistake of placing allegorical figures his early art training at the Diisseldorf Academy,
as a pupil of Professor A.
Kampf, studying afterwards
at Worpswede under the
guidance of the grave and
earnest Fritz Mackensen,
already mentioned. Two
years ago he settled down
permanently in this far-
away spot, where he bought
a little, old, straw-thatched
peasant cottage and a few
acres of land. Here there
is nought to disturb the
poetic quiet of his days,
no busy life around, no din
of factory, no throbbing
engines. Here all his
DAS MADC 11 EN UNI) DIE KAKEN " FROM AN ETCHING BY HEINRICH VOUELEK platCS WCre produced-
52