DOI Heft:
Nr. 77 (August 1899)
DOI Artikel:Studio-talk
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.19232#0227
Studio-Talk
namely, colour—is lacking; but, as will be seen,
Hirzel has introduced simple plant forms, and oc-
casionally insects, such as the butterfly, and worked
them adroitly into the limited space available. A
plain gold border surrounds the mosaic plate, and
the effect is agreeably emphasised by the combina-
tion of the dull gold with the equally dull tones of
the stone. It is to be hoped the impulse to this
work given by Hirzel may not be allowed to slacken.
Some attention is due to the recent exhibitions
given by Schulte, which have afforded infinite
satisfaction, as indicating a decided advance on the
ordinary art displays. The works of Ziigel and
Steinhausen have also been on view. The former,
well known for years as an eminent animal painter,
has proved, by numerous works, that he occupies
an equally high position as a landscapist. At
the present time he employs his animals simply
as incidents of colour in his paintings. It is re-
markable, nevertheless, how lifelike they appear,
and with what accuracy they are observed. Wil-
helm Steinhausen, of Frankfurt, should receive the
recognition he deserves, if only on account of his
years. He became known long ago by his repre-
sentations of biblical subjects; now he chiefly
affects portraits and land-
scapes. All his works are
good and honest and full
of feeling, especially the
landscapes, which have
created a great impression.
An exhibition of nume-
rous works by Franz Cour-
tens, of Brussels, contained
nothing particularly new,
but served to emphasise
the excellence of his richly-
coloured landscapes. The
numerous landscapes by
Buttersack, of Munich,
revealed gifts which, if not
yet fully developed, are
nevertheless marked by
honest purpose and a
powerful faculty of obser-
vation. G. G.
E N I C E .—
“The Third
International
Art Exhibi-
tion of the
City of Venice ”—to give
it its full title—was opened
on April 28, and has
proved to be no less im-
portant either in quantity
or quality than its prede-
cessors. Of the foreign
exhibits the Dutch and the
Scandinavian predominate
numerically, but there are
many English and Scotch
works of high merit. Let
us take the Scotsmen first,
namely, colour—is lacking; but, as will be seen,
Hirzel has introduced simple plant forms, and oc-
casionally insects, such as the butterfly, and worked
them adroitly into the limited space available. A
plain gold border surrounds the mosaic plate, and
the effect is agreeably emphasised by the combina-
tion of the dull gold with the equally dull tones of
the stone. It is to be hoped the impulse to this
work given by Hirzel may not be allowed to slacken.
Some attention is due to the recent exhibitions
given by Schulte, which have afforded infinite
satisfaction, as indicating a decided advance on the
ordinary art displays. The works of Ziigel and
Steinhausen have also been on view. The former,
well known for years as an eminent animal painter,
has proved, by numerous works, that he occupies
an equally high position as a landscapist. At
the present time he employs his animals simply
as incidents of colour in his paintings. It is re-
markable, nevertheless, how lifelike they appear,
and with what accuracy they are observed. Wil-
helm Steinhausen, of Frankfurt, should receive the
recognition he deserves, if only on account of his
years. He became known long ago by his repre-
sentations of biblical subjects; now he chiefly
affects portraits and land-
scapes. All his works are
good and honest and full
of feeling, especially the
landscapes, which have
created a great impression.
An exhibition of nume-
rous works by Franz Cour-
tens, of Brussels, contained
nothing particularly new,
but served to emphasise
the excellence of his richly-
coloured landscapes. The
numerous landscapes by
Buttersack, of Munich,
revealed gifts which, if not
yet fully developed, are
nevertheless marked by
honest purpose and a
powerful faculty of obser-
vation. G. G.
E N I C E .—
“The Third
International
Art Exhibi-
tion of the
City of Venice ”—to give
it its full title—was opened
on April 28, and has
proved to be no less im-
portant either in quantity
or quality than its prede-
cessors. Of the foreign
exhibits the Dutch and the
Scandinavian predominate
numerically, but there are
many English and Scotch
works of high merit. Let
us take the Scotsmen first,