DOI Heft:
No. 68 (November 1898)
DOI Artikel:Studio-talk
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.19230#0149
Studio- Talk
occasional flashes of real genius, the critic might
well be justified in remaining silent. The general
aspect of the collection is the same as in previous'
years, the Berlin school predominating solely by
weight of numbers and not by quality. I might
pick out for commendation the same five or six
names which maintain year after year a reputation for
good, even excellent, work, and thus serve to prove
that artists of some distinction can be produced
even in Berlin. But why are these names so few?
Among the Berlin exhibitors this year Frau
Cornelia Paczka, who already stands in high
repute for her lithographs and etchings, takes a
very prominent position. She is represented by
two large panels entitled Music and Dancing, in-
tended for the decoration of a music salon.
The pictures representative of other German
cities are hung together without geographical
classification. Both in point of number and
excellence the Munich exhibits rank first, and
some of the works included in this collection de-
serve particular notice. Dill's Inundated Sage-
fields o?i the Banks of the Po is not only the best
landscape exhibited this year, but also one of
finest of modern examples. The harmony of. the
delicate blue of the numerous flowers and the
silver-tinged haze which hangs lightly over the
water is wonderfully striking. Stadler's landscapes
are sharp and clear—a mode of treatment which,
according to the artist himself, is intended to give
them a wide perspective—and have the appear-
ance of good examples of Dutch work. Sperl
reproduces admirably the cool half-tone of light
under thick foliage. Hugo Konig merits attention
for his charming portrait of a child. Hugo von
Habermann handles his brush as freely as usual,
and is producing excellent work. His power of
representing the delicate charm of the female
form, and by his colouring investing it with life, is
astonishing. _
The Diisseldorf pictures include Arthur Kampf's
Farewell, a good work of impressive character, and
several very fine landscapes by Eugen Kampf, in
which the artist has produced a dominating tone
which seems to knit the whole together. Hermann
Banner, who has already surprised us more than
once with his powerfully-conceived scenes of
country life, supplies in his Lower Rhine Village
"EINSAMER WEIHER"
128
BY HANS VON VOLKMANN
occasional flashes of real genius, the critic might
well be justified in remaining silent. The general
aspect of the collection is the same as in previous'
years, the Berlin school predominating solely by
weight of numbers and not by quality. I might
pick out for commendation the same five or six
names which maintain year after year a reputation for
good, even excellent, work, and thus serve to prove
that artists of some distinction can be produced
even in Berlin. But why are these names so few?
Among the Berlin exhibitors this year Frau
Cornelia Paczka, who already stands in high
repute for her lithographs and etchings, takes a
very prominent position. She is represented by
two large panels entitled Music and Dancing, in-
tended for the decoration of a music salon.
The pictures representative of other German
cities are hung together without geographical
classification. Both in point of number and
excellence the Munich exhibits rank first, and
some of the works included in this collection de-
serve particular notice. Dill's Inundated Sage-
fields o?i the Banks of the Po is not only the best
landscape exhibited this year, but also one of
finest of modern examples. The harmony of. the
delicate blue of the numerous flowers and the
silver-tinged haze which hangs lightly over the
water is wonderfully striking. Stadler's landscapes
are sharp and clear—a mode of treatment which,
according to the artist himself, is intended to give
them a wide perspective—and have the appear-
ance of good examples of Dutch work. Sperl
reproduces admirably the cool half-tone of light
under thick foliage. Hugo Konig merits attention
for his charming portrait of a child. Hugo von
Habermann handles his brush as freely as usual,
and is producing excellent work. His power of
representing the delicate charm of the female
form, and by his colouring investing it with life, is
astonishing. _
The Diisseldorf pictures include Arthur Kampf's
Farewell, a good work of impressive character, and
several very fine landscapes by Eugen Kampf, in
which the artist has produced a dominating tone
which seems to knit the whole together. Hermann
Banner, who has already surprised us more than
once with his powerfully-conceived scenes of
country life, supplies in his Lower Rhine Village
"EINSAMER WEIHER"
128
BY HANS VON VOLKMANN