DOI Heft:
Nr. 75 (June 1899)
DOI Artikel:Studio-talk
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.19232#0072
Studio-Talk
portion of the population of Munich ; for no man’s
eye—those of the inevitable musicians and waiters
excepted—is permitted to view these entertain-
ments, by which the lady artists and their lady
guests endeavour to prove to their mutual satisfac-
tion that women, without the assistance of men,
are able to arrange and carry out grand festivities
in thoroughly successful fashion. Thus I can only
inform the readers of The Studio at second-hand
that this year’s festival went off with eclat, and
proved most enjoyable. The programme, I hear,
included a Dutch fete, and the great Masters of
old—Rembrandt, Franz Hals, and others—were to
be seen promenading with their wives amid the
busy throng. Indeed, Rembrandt’s Night Watch,
with its banner-bearers, its sharpshooters and its
drummers, seemed to have marched straight
out of its frame to Munich. The principal room
was fancifully and gorgeously decorated with
gigantic tulips, and one of the side apartments
was converted into an Ostade tap-room, the sole
illumination of which was provided by the glowing
hearth. The only record of the fete vouchsafed to
the male world is a publication containing repro-
ductions of work by the Munich and Berlin lady
artists who participated in it. The book has been]
prepared and edited by Linda Koegel, with whose
work our readers are familiar. She herself supplied
the principal illustration—a large lithograph, repre-
senting two women in Dutch costume, dancing.
The various other contributions need not be men-
tioned in detail; it may be said, however, that the
general effect of the entire work is distinctly good,
and worthy of all respect. G. K.
STOCKHOLM.—Amongst the best of the
younger artists here must undoubtedly
be reckoned Mr. Fjtestad, a painter
who has developed an individual style
entirely apart from every fixed system
and tradition. Mr. Fjsestad has proved that he
possesses the rare gift of being able to place upon
his canvas some of the deepest and most intimate
impressions which the desolate nature of the North
offers, be it in a sombre snow-clad fir forest, in the
colours of a forest in rich summer brightness of
tone, or in the dazzling brilliancy of a frosty snow-
field glistening as if studded with jewels and set in
a frame of birches, trees that nowhere show such
silvery-white trunks as in the far North. The
57
portion of the population of Munich ; for no man’s
eye—those of the inevitable musicians and waiters
excepted—is permitted to view these entertain-
ments, by which the lady artists and their lady
guests endeavour to prove to their mutual satisfac-
tion that women, without the assistance of men,
are able to arrange and carry out grand festivities
in thoroughly successful fashion. Thus I can only
inform the readers of The Studio at second-hand
that this year’s festival went off with eclat, and
proved most enjoyable. The programme, I hear,
included a Dutch fete, and the great Masters of
old—Rembrandt, Franz Hals, and others—were to
be seen promenading with their wives amid the
busy throng. Indeed, Rembrandt’s Night Watch,
with its banner-bearers, its sharpshooters and its
drummers, seemed to have marched straight
out of its frame to Munich. The principal room
was fancifully and gorgeously decorated with
gigantic tulips, and one of the side apartments
was converted into an Ostade tap-room, the sole
illumination of which was provided by the glowing
hearth. The only record of the fete vouchsafed to
the male world is a publication containing repro-
ductions of work by the Munich and Berlin lady
artists who participated in it. The book has been]
prepared and edited by Linda Koegel, with whose
work our readers are familiar. She herself supplied
the principal illustration—a large lithograph, repre-
senting two women in Dutch costume, dancing.
The various other contributions need not be men-
tioned in detail; it may be said, however, that the
general effect of the entire work is distinctly good,
and worthy of all respect. G. K.
STOCKHOLM.—Amongst the best of the
younger artists here must undoubtedly
be reckoned Mr. Fjtestad, a painter
who has developed an individual style
entirely apart from every fixed system
and tradition. Mr. Fjsestad has proved that he
possesses the rare gift of being able to place upon
his canvas some of the deepest and most intimate
impressions which the desolate nature of the North
offers, be it in a sombre snow-clad fir forest, in the
colours of a forest in rich summer brightness of
tone, or in the dazzling brilliancy of a frosty snow-
field glistening as if studded with jewels and set in
a frame of birches, trees that nowhere show such
silvery-white trunks as in the far North. The
57