DOI Heft:
No. 71 (february 1899)
DOI Artikel:Schölermann, Wilhelm: Modern fine and applied art in Vienna
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.19231#0045
Art in Vienna
for which it is intended both intimate and private
in character.
Thanks to the taste of the architect, Mr. Josef
M. Olbrich, and the Exhibition Committee, the
whole arrangement was discreet and dignified.
There was no crowding of exhibits, each room dis-
played a distinct character of its own, and the
hanging was carried out with due regard to colour
effect. Indeed, there were many contributions
that had to be put back in order to prevent crowd-
ing. These (principally water-colours) were dis-
played during January, together with a new collec-
tion of Meunier's works, and Max Klinger's large
canvas, Christus im Olymp.
. „™i- rnvmi by adolf bohm
design for a book-cover
The latter, besides his marvellous etchings, sent
a number of oil paintings, portraits, &c, and a
tiny ■ bronze group of strong dramatic effect.
Georges Gardet, the French sculptor, sent his
celebrated fighting panthers (from the last Salon
Champ de Mars). , In portraiture, the American,
John W. Alexander, and a young Diisseldorf artist,
who is studying at present in London, Mr. Neven
du Mont, were conspicuous.
book-cover designed and executed by a. forster
Among the foreign artists the most conspicuous ^wjsc J
were Uhde (Abendmahl), Volz, Ziigel, Exter, Hans ■.■^■■rjA
von Barrels, Dill, Skarbina, Fritz Mackensen, from X£>4:: ■ J
Germany; from Paris, Besnard, Henri Martin I S{1 i^l
{Vers PAbime), Roll, Wengel, Armand Berton, .^Hkflf JBC^/Sf/ 1(7
Billotte, Carabin, Baffler, Vallgren England, ^SSSfitiMS^TJSgfelP
Walton, George Clausen, Henry Muhrmann, Robert ^sJI^mI^L IhxX^ET 1
Brough, and George Sauter. Belgium was again j ^Q0HH^j|fej/.
represented by some beautiful landscapes of f _ ^\^>^A^^S^ ■
Khnopff's, and drawings for Spenser's Faerie Queene _ "
by the same artist. Scandinavia had excellent re-
presentatives in Fritz Thaulow and Anders Zorn. embroidered cushion designed by r. hammel
35
for which it is intended both intimate and private
in character.
Thanks to the taste of the architect, Mr. Josef
M. Olbrich, and the Exhibition Committee, the
whole arrangement was discreet and dignified.
There was no crowding of exhibits, each room dis-
played a distinct character of its own, and the
hanging was carried out with due regard to colour
effect. Indeed, there were many contributions
that had to be put back in order to prevent crowd-
ing. These (principally water-colours) were dis-
played during January, together with a new collec-
tion of Meunier's works, and Max Klinger's large
canvas, Christus im Olymp.
. „™i- rnvmi by adolf bohm
design for a book-cover
The latter, besides his marvellous etchings, sent
a number of oil paintings, portraits, &c, and a
tiny ■ bronze group of strong dramatic effect.
Georges Gardet, the French sculptor, sent his
celebrated fighting panthers (from the last Salon
Champ de Mars). , In portraiture, the American,
John W. Alexander, and a young Diisseldorf artist,
who is studying at present in London, Mr. Neven
du Mont, were conspicuous.
book-cover designed and executed by a. forster
Among the foreign artists the most conspicuous ^wjsc J
were Uhde (Abendmahl), Volz, Ziigel, Exter, Hans ■.■^■■rjA
von Barrels, Dill, Skarbina, Fritz Mackensen, from X£>4:: ■ J
Germany; from Paris, Besnard, Henri Martin I S{1 i^l
{Vers PAbime), Roll, Wengel, Armand Berton, .^Hkflf JBC^/Sf/ 1(7
Billotte, Carabin, Baffler, Vallgren England, ^SSSfitiMS^TJSgfelP
Walton, George Clausen, Henry Muhrmann, Robert ^sJI^mI^L IhxX^ET 1
Brough, and George Sauter. Belgium was again j ^Q0HH^j|fej/.
represented by some beautiful landscapes of f _ ^\^>^A^^S^ ■
Khnopff's, and drawings for Spenser's Faerie Queene _ "
by the same artist. Scandinavia had excellent re-
presentatives in Fritz Thaulow and Anders Zorn. embroidered cushion designed by r. hammel
35