DOI issue:
No. 65 (August, 1898)
DOI article:Studio-talk
DOI Page / Citation link:https://doi.org/10.11588/diglit.21969#0234
Studio-Talk
Willy Spatz sent a num-
ber of large drawings and
studies, in crayon, red
chalk, and distemper, also
designs for frescoes, all
impregnated with a remark-
able intensity which cannot
fail to impress the beholder.
the most part based upon impressions of travel in
Spain. Without attempting to describe these works
in detail, I may sum them up by saying the artist
has regarded popular life in Spain from a standpoint
widely removed from that generally chosen by
those who depict scenes from the Peninsula.
Among his productions we find no Carmencita,
no Maja, no Tambourine Players, none of the
pretty dolls with flashing eyes we meet so often in
millionaires’ drawing-rooms, or see exposed for sale
in the picture-dealers’ galleries. Kampf’s pictures
are mostly drawn from the darker side of Spanish
life—scenes on the quays at Gibraltar, beggars at
the church doors, cripples and hunchbacks whining
for alms, and such-like, painted in strong, yet for the
most part sombre, colours. Consummate ease marks
the treatment of these pictures, which every succeed-
ing year reveal some new aspect of his manifold skill
Gustav Wendling lays
the scene of his canvas,
Der Brief, in a quaint
Dutch interior, wherein the
effects of light are repro-
duced with the utmost
conscientiousness and
ability. _
LA VILLE DE GAND’
BY J. I.AGAE
As is the case in most
exhibitions, the landscapes
were very numerous. They
nearly all represented the
scenery of the Lower
Rhenish plains or of Hol-
land, and would in their
similarity be very monoto-
nous were it not that they
vary largely in point of
hour and season. Liese-
gang specially affects the
study of avenues of trees
203
Alexander Frenz, who loves to let his imagina-
tion wander back into the classic days of Greece,
exhibited a beautiful piece of colouring—Die Geburt
der Venus—which differed entirely from the tradi-
tional treatment of the subject. He depicts with
genial humour a group of simple fisher-folk gazing
in honest bucolic wonderment at the great shell,
drawn by black sea-lions, wherein reclines the
“ foam-born goddess,” half-curious, half-ashamed.
Gerhardt Janssen handles his themes—taken
mainly from Low-German tavern and Kirmesse life
—with inexhaustible vitality and freshness. His
figures have nothing of the Court about them,
exhale no boudoir perfume; their heavy wooden
shoes have trod no parquet floor. They are
thoroughly in their element in this atmosphere of
pipe and beer and schnaps. Janssen, with his
robust and laughter-moving pictures, is one of the
most remarkable artistic
products of this somewhat
super-sensitive age.
(See Brussels Studio- Talk)
Willy Spatz sent a num-
ber of large drawings and
studies, in crayon, red
chalk, and distemper, also
designs for frescoes, all
impregnated with a remark-
able intensity which cannot
fail to impress the beholder.
the most part based upon impressions of travel in
Spain. Without attempting to describe these works
in detail, I may sum them up by saying the artist
has regarded popular life in Spain from a standpoint
widely removed from that generally chosen by
those who depict scenes from the Peninsula.
Among his productions we find no Carmencita,
no Maja, no Tambourine Players, none of the
pretty dolls with flashing eyes we meet so often in
millionaires’ drawing-rooms, or see exposed for sale
in the picture-dealers’ galleries. Kampf’s pictures
are mostly drawn from the darker side of Spanish
life—scenes on the quays at Gibraltar, beggars at
the church doors, cripples and hunchbacks whining
for alms, and such-like, painted in strong, yet for the
most part sombre, colours. Consummate ease marks
the treatment of these pictures, which every succeed-
ing year reveal some new aspect of his manifold skill
Gustav Wendling lays
the scene of his canvas,
Der Brief, in a quaint
Dutch interior, wherein the
effects of light are repro-
duced with the utmost
conscientiousness and
ability. _
LA VILLE DE GAND’
BY J. I.AGAE
As is the case in most
exhibitions, the landscapes
were very numerous. They
nearly all represented the
scenery of the Lower
Rhenish plains or of Hol-
land, and would in their
similarity be very monoto-
nous were it not that they
vary largely in point of
hour and season. Liese-
gang specially affects the
study of avenues of trees
203
Alexander Frenz, who loves to let his imagina-
tion wander back into the classic days of Greece,
exhibited a beautiful piece of colouring—Die Geburt
der Venus—which differed entirely from the tradi-
tional treatment of the subject. He depicts with
genial humour a group of simple fisher-folk gazing
in honest bucolic wonderment at the great shell,
drawn by black sea-lions, wherein reclines the
“ foam-born goddess,” half-curious, half-ashamed.
Gerhardt Janssen handles his themes—taken
mainly from Low-German tavern and Kirmesse life
—with inexhaustible vitality and freshness. His
figures have nothing of the Court about them,
exhale no boudoir perfume; their heavy wooden
shoes have trod no parquet floor. They are
thoroughly in their element in this atmosphere of
pipe and beer and schnaps. Janssen, with his
robust and laughter-moving pictures, is one of the
most remarkable artistic
products of this somewhat
super-sensitive age.
(See Brussels Studio- Talk)