DOI Heft:
No. 74 (May 1899)
DOI Artikel:Studio-talk
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.19231#0313
Studio- Talk
from the hand of the greatest proficients in that most Velasquez, and raises it above the average produc-
difficult of all tasks, the representation of the inner tions of the naturalist school,
ego of the subject. A very noteworthy example
D
of the sculptor's skill in this direction is the Germany is represented by Gleichen-Russwurm,
bronze bust of Duke George II. of Saxe-Meiningen. Liebermann, Paul Baum and Max Arthur Stremel.
This is no flattered portrait endowing the sitter The last two most decidedly belong here, the first
with all manner of heroic qualities which do not not quite so clearly. Both Baum and Stremel have
belong to him, but an absolutely truthful likeness studied for years in Belgium, have come into close
of the man who has perhaps the finest feeling for contact with such artists as Van Rysselberghe, and
and most complete knowledge of art of any of the it is there that they have developed and attained
German princes of the day. The modelling of the their own style. Stremel's work undoubtedly is
head is especially fine ; the noble face is instinct quite equal to any of the French and Belgian now
with energy, and the details, such as the long wavy painted, and it is extraordinary how he manages
beard, are rendered with wonderful technical skill. to infuse artistic qualities of the highest order into
G. K. a subject at first sight so unpromising as Schiller's
death-room, Goethe's death-room at Weimar, and
RESDEN.—The exhibition recently other interiors. The original rooms, indeed,
opened at Arnold's Galleries is not possess not a single charm of decoration or arrange-
only superior to any that has been ment, but Stremel's paintings of them altogether
offered there for a long time, but it is fascinate us by virtue of their spirited handling and
one of the most interesting ever held their artistic tone. H. W. S.
in Dresden. The intention was to give an idea of
the work and of the development of the impres- "T| "V ERLIN.—The most important event
sionist school. The whole show contained only during the past few weeks in the art
fifty oil paintings and rather more than that num- ^ world of Germany is the formation of
ber of drawings, water-colours, &c. Yet it cannot W a " Secession " in Berlin. Friction
have been an easy feat to collect at this date, so far and disputes had been heard of for
away from Paris and Belgium, three oil-paintings some time past, but the differences had never
by Edward Manet, six by Claude Monet, three by become so serious as to necessitate the establish-
Sisley, two by Degas, a
Berthe Morizot, four
Auguste Renoirs, five
CamillePissarros, a Georges
Seurat, five Signacs, three
E. Claus, four Van Rys-
selberghes, &c. ! One gets
a good idea of the several
stages from Manet's broad
instinctive handling down
to the scientific treatment
of the " Pointilliste " of to-
day. _
If I were asked to name
the best in the show, I
think I should select the
Monets, especially the
splendid view of Vetheuil.
Its handling is as bold as
any, but over and above
carrying out the principles
of impressionism, the fine
greyish tone pervading the electric lamp bracket designed by bernhard wenig
picture recalls visions of executed by otto schulz
288
from the hand of the greatest proficients in that most Velasquez, and raises it above the average produc-
difficult of all tasks, the representation of the inner tions of the naturalist school,
ego of the subject. A very noteworthy example
D
of the sculptor's skill in this direction is the Germany is represented by Gleichen-Russwurm,
bronze bust of Duke George II. of Saxe-Meiningen. Liebermann, Paul Baum and Max Arthur Stremel.
This is no flattered portrait endowing the sitter The last two most decidedly belong here, the first
with all manner of heroic qualities which do not not quite so clearly. Both Baum and Stremel have
belong to him, but an absolutely truthful likeness studied for years in Belgium, have come into close
of the man who has perhaps the finest feeling for contact with such artists as Van Rysselberghe, and
and most complete knowledge of art of any of the it is there that they have developed and attained
German princes of the day. The modelling of the their own style. Stremel's work undoubtedly is
head is especially fine ; the noble face is instinct quite equal to any of the French and Belgian now
with energy, and the details, such as the long wavy painted, and it is extraordinary how he manages
beard, are rendered with wonderful technical skill. to infuse artistic qualities of the highest order into
G. K. a subject at first sight so unpromising as Schiller's
death-room, Goethe's death-room at Weimar, and
RESDEN.—The exhibition recently other interiors. The original rooms, indeed,
opened at Arnold's Galleries is not possess not a single charm of decoration or arrange-
only superior to any that has been ment, but Stremel's paintings of them altogether
offered there for a long time, but it is fascinate us by virtue of their spirited handling and
one of the most interesting ever held their artistic tone. H. W. S.
in Dresden. The intention was to give an idea of
the work and of the development of the impres- "T| "V ERLIN.—The most important event
sionist school. The whole show contained only during the past few weeks in the art
fifty oil paintings and rather more than that num- ^ world of Germany is the formation of
ber of drawings, water-colours, &c. Yet it cannot W a " Secession " in Berlin. Friction
have been an easy feat to collect at this date, so far and disputes had been heard of for
away from Paris and Belgium, three oil-paintings some time past, but the differences had never
by Edward Manet, six by Claude Monet, three by become so serious as to necessitate the establish-
Sisley, two by Degas, a
Berthe Morizot, four
Auguste Renoirs, five
CamillePissarros, a Georges
Seurat, five Signacs, three
E. Claus, four Van Rys-
selberghes, &c. ! One gets
a good idea of the several
stages from Manet's broad
instinctive handling down
to the scientific treatment
of the " Pointilliste " of to-
day. _
If I were asked to name
the best in the show, I
think I should select the
Monets, especially the
splendid view of Vetheuil.
Its handling is as bold as
any, but over and above
carrying out the principles
of impressionism, the fine
greyish tone pervading the electric lamp bracket designed by bernhard wenig
picture recalls visions of executed by otto schulz
288