DOI Heft:
Nr. 77 (August 1899)
DOI Artikel:Keyssner, Gustav: The exhibition of the munich ,Secession', 1899
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.19232#0209
The Munich Secessionists Exhibition
the painting is broad and powerful in touch, and
of brilliant richness in point of colour.
It is curious to observe how knights in armour
have lately come into favour again as subjects for
paintings. Arnold Boecklin, whose grand con-
ception, Der Krieg, is one of the chief ornaments
of the exhibition, and Hans Thoma, who is re-
presented by two landscapes, have once more
turned to the romantic subjects so dear to the
German mind. Moreover, their example is
followed by Hans Anetsberger, who shows in his
picture, Sage, a knight in armour, to whom a nude
woman presents a cup at a forest spring; while
Angelo Jank, one of the most gifted of our young
painters, has depicted a troop of mounted knights
who have ranged themselves on a hill as Eiserne
Wehr (“ Ironsides ”), and are guarding the valleys
below. German romanticism is also, notwith-
standing the antique
dress and the south-
ern landscape, the
fundamental idea of
the idyll of Wilhelm
Volz, Frail Musica,
who, leaning against
her violoncello,
listens to a little
musician practising
the violin.
Genre painting is
more numerously
represented than
usual. The small
and chastely painted
pictures by Hans
Borchardt, which
portray with the
greatest neatness
and delicacy, with-
out excess of detail,
figures and interiors
in the “ Bieder-
maier ” style, are de-
serving of especial
praise. Plain,
homely comfort is
suggested in pic-
tures such as Paul
Schroeter’s Sonntag-
morgen and R.Win-
ternitz’s Quartett.
Ad. Niemeyer’s
Pilzesuchende Mad-
chen belongs more
to the landscape class, and is excellent in its repro-
duction of the evening atmosphere.
Our Munich landscape painters, as is well
known, have been strongly influenced by the
Glasgow school, which was represented here for
the first time in 189T ; and this influence is now
bearing fruit. Ludwig Dill, the president of the
Secession, is a striking example. His pictures,
which of recent years he has taken from the
Bavarian plateau, in the neighbourhood of Dachau,
the Barbizon of Munich, are intelligent and truly
artistic epitomes of natural impressions. A good
specimen of his art, which, however, would lose
much of its expressive power in course of reproduc-
tion, is his picture, Am Waldesrand.
Adolf Hoelzel paints somewhat like Dill. What
distinguishes both of them, however, from the
Scotchmen is their absolutely different sense of
the painting is broad and powerful in touch, and
of brilliant richness in point of colour.
It is curious to observe how knights in armour
have lately come into favour again as subjects for
paintings. Arnold Boecklin, whose grand con-
ception, Der Krieg, is one of the chief ornaments
of the exhibition, and Hans Thoma, who is re-
presented by two landscapes, have once more
turned to the romantic subjects so dear to the
German mind. Moreover, their example is
followed by Hans Anetsberger, who shows in his
picture, Sage, a knight in armour, to whom a nude
woman presents a cup at a forest spring; while
Angelo Jank, one of the most gifted of our young
painters, has depicted a troop of mounted knights
who have ranged themselves on a hill as Eiserne
Wehr (“ Ironsides ”), and are guarding the valleys
below. German romanticism is also, notwith-
standing the antique
dress and the south-
ern landscape, the
fundamental idea of
the idyll of Wilhelm
Volz, Frail Musica,
who, leaning against
her violoncello,
listens to a little
musician practising
the violin.
Genre painting is
more numerously
represented than
usual. The small
and chastely painted
pictures by Hans
Borchardt, which
portray with the
greatest neatness
and delicacy, with-
out excess of detail,
figures and interiors
in the “ Bieder-
maier ” style, are de-
serving of especial
praise. Plain,
homely comfort is
suggested in pic-
tures such as Paul
Schroeter’s Sonntag-
morgen and R.Win-
ternitz’s Quartett.
Ad. Niemeyer’s
Pilzesuchende Mad-
chen belongs more
to the landscape class, and is excellent in its repro-
duction of the evening atmosphere.
Our Munich landscape painters, as is well
known, have been strongly influenced by the
Glasgow school, which was represented here for
the first time in 189T ; and this influence is now
bearing fruit. Ludwig Dill, the president of the
Secession, is a striking example. His pictures,
which of recent years he has taken from the
Bavarian plateau, in the neighbourhood of Dachau,
the Barbizon of Munich, are intelligent and truly
artistic epitomes of natural impressions. A good
specimen of his art, which, however, would lose
much of its expressive power in course of reproduc-
tion, is his picture, Am Waldesrand.
Adolf Hoelzel paints somewhat like Dill. What
distinguishes both of them, however, from the
Scotchmen is their absolutely different sense of