DOI Heft:
No. 60 (March, 1898)
DOI Artikel:Hagen, Luise: Lady artists in Germany
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.18391#0111
Lady Artists in Germany
developed, of that one expression of truth to be 'cello with piano accompaniment. Nor is this to
revealed in this particular case. A most prominent be wondered at. Fraulein Bauck's father was a
means of conveying a right idea of what they have composer and writer upon musical subjects at
got to say is found by both artists in solving prob- Stockholm. Her mother was a Swede, her father
lems of light and air. More than by any other a German. The daughter's education was entirely
help, they succeed in rendering the very breath of musical; all the great masters of classical German
nature, by making their sketches and portraits a music were familiar to her from the days of her
question of lights and shades. Colour, however, infancy up to her twenty-third year, when she left
to both of them is not merely the result of scientific her native town to visit the land of her ancestors
research and experiment upon the qualities of light, and to acquire a thorough education in painting,
They consider it, and rightly too, as matter bound which she did at Dresden, Diisseldorf, Munich,
up in material of some kind placed under the in- and finally in Paris. Landscapes were her favourite
fluence of some special quality of light. subjects, and she has stuck to them for a number
It is in the matter of colouring that the difference of years. She took up her abode at Munich and
of individuality in both artists sets in. Fraulein made many excursions into the Alps, the Harz,
Bauck, the elder of the two, treats colour in a the Black Forest, and to the seaside alternately,
thoroughly musical fashion. The sound of a 'cello Seaside subjects subsequently became her favour-
or of a fine deep contralto voice prevails in the ites. She never attempted panorama-like effects,
choice of her colours. They remind you of but directed her attention to nature's beauty,
some of Beethoven's Scherzos and Adagios for which she contrived to instil with nature's own
spirit. Her work always
produces a picture, an
organic something, a
whole, an entity, not a
mere accidental fragment.
This is due to vigorous
concentration of reason-
ing faculty combined with
intuitive power of a
stronger quality than
mere reflective thought.
There is an entire aban-
donment of self, an abso-
lute relying upon nature's
own greatness, which
makes the artist instru-
mental to the true spirit
of art. Fraulein Bauck's
work is never an argu-
ment, she never works in
that combative mood, in
that spirit of contention
which nowadays causes
so very many women to
use art merely as a means
of arguing it out with
men, of disproving the
inferiority of their sex.
Her very conception of
art is far too broad for
her ever to have a thought
of making it a means to
any end whatever, not
■Portrait of countess pocci by jeanna bauck even the sublimest. Art
94
developed, of that one expression of truth to be 'cello with piano accompaniment. Nor is this to
revealed in this particular case. A most prominent be wondered at. Fraulein Bauck's father was a
means of conveying a right idea of what they have composer and writer upon musical subjects at
got to say is found by both artists in solving prob- Stockholm. Her mother was a Swede, her father
lems of light and air. More than by any other a German. The daughter's education was entirely
help, they succeed in rendering the very breath of musical; all the great masters of classical German
nature, by making their sketches and portraits a music were familiar to her from the days of her
question of lights and shades. Colour, however, infancy up to her twenty-third year, when she left
to both of them is not merely the result of scientific her native town to visit the land of her ancestors
research and experiment upon the qualities of light, and to acquire a thorough education in painting,
They consider it, and rightly too, as matter bound which she did at Dresden, Diisseldorf, Munich,
up in material of some kind placed under the in- and finally in Paris. Landscapes were her favourite
fluence of some special quality of light. subjects, and she has stuck to them for a number
It is in the matter of colouring that the difference of years. She took up her abode at Munich and
of individuality in both artists sets in. Fraulein made many excursions into the Alps, the Harz,
Bauck, the elder of the two, treats colour in a the Black Forest, and to the seaside alternately,
thoroughly musical fashion. The sound of a 'cello Seaside subjects subsequently became her favour-
or of a fine deep contralto voice prevails in the ites. She never attempted panorama-like effects,
choice of her colours. They remind you of but directed her attention to nature's beauty,
some of Beethoven's Scherzos and Adagios for which she contrived to instil with nature's own
spirit. Her work always
produces a picture, an
organic something, a
whole, an entity, not a
mere accidental fragment.
This is due to vigorous
concentration of reason-
ing faculty combined with
intuitive power of a
stronger quality than
mere reflective thought.
There is an entire aban-
donment of self, an abso-
lute relying upon nature's
own greatness, which
makes the artist instru-
mental to the true spirit
of art. Fraulein Bauck's
work is never an argu-
ment, she never works in
that combative mood, in
that spirit of contention
which nowadays causes
so very many women to
use art merely as a means
of arguing it out with
men, of disproving the
inferiority of their sex.
Her very conception of
art is far too broad for
her ever to have a thought
of making it a means to
any end whatever, not
■Portrait of countess pocci by jeanna bauck even the sublimest. Art
94