DOI Heft:
No. 80 (November, 1899)
DOI Artikel:Studio-talk
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.19783#0161
Studio-Talk
and favourite subject—are represented with un-
common vivacity. In their special way they are
the best things that have been produced in Ger-
many during the present century. They create a
lasting and a most pleasurable impression.
The "Secession," with its 350 exhibits or so—
plastic and graphic work combined—was, as I have
already said, a small display, as we reckon displays
of this kind nowadays. It made up in quality
what it lacked in quantity. There was no rubbish
here at all. The little galleries were simply and
most artistically decorated with a view to the
effective display of the various exhibits ; and, con-
sidering the newness of the Society and the short
time at its disposal, it may be considered that all that
could be done had been done most satisfactorily.
It was a very happy idea to enlist the co-operation of
Germany's three greatest artists. Menzel was repre-
sented by several studies and by a wonderful sketch
in oils of an old man in the Rembrandt style;
Bocklin sent several exhibits, includ-
ing one of his early landscapes, a new
version of the Centaur carrying off a
Woman, a deeply impressive work
entitled Herbststimmung, and some
lovely studies. Leibl, too, was admir-
ably represented. In the middle of
the second gallery hung his notable
picture, Bauernpolitiker, while nume-
rous studies, portraits, &c, gave a
splendid idea of his genius, and enabled
the public to realise his greatness.
STOCKHOLM.—The artistic world of
Sweden is divided into two distinct
parties, one of which energetically
claims the leadership in modern art.
As early as 1880 there was a rupture
between the old school, represented, or rather pro-
tected, by the Academy, and some younger painters,
who, on the basis of the new art schools of France,
wished to introduce new ideas and methods into the
art of their native country. The result in regard to
the organisation of those different parties is that two
societies have developed side by side in Sweden,
the one being "The Society of Swedish Artists,"
the other "The Brotherhood of Artists." The
first named principally embraces the members of
the Academy, the latter are " The Opponents,"
among whom the love of personal ideas and methods
rules supreme.
The exhibitions of this year have proved that in
neither of these societies alone can one get a full
appreciation of what aesthetic possibilities the North
holds, for which reason it is much to be regretted
Max Liebermann, the well-known
Berlin artist, and one of the mainstays
of the exhibition, sent his charming
picture Waisenmddchen in Amsterdam,
together with some newer work of
great interest, and other notable
Berlin exhibitors were Leistikow,
Schultze - Naumburg, and Feldmann.
Munich was worthily represented by
Dill, Habermann, Stuck, and Ziigel;
Frankfurt by Triibner and Thoma;
Worpswede by Mackensen, Moder-
sohn and C. Vinnen ; while Volkmann
and Kalckreuth worthily represented
Carlsruhe,
G, G. PORTRAIT BY PROFESSOR KRONBERG
141
and favourite subject—are represented with un-
common vivacity. In their special way they are
the best things that have been produced in Ger-
many during the present century. They create a
lasting and a most pleasurable impression.
The "Secession," with its 350 exhibits or so—
plastic and graphic work combined—was, as I have
already said, a small display, as we reckon displays
of this kind nowadays. It made up in quality
what it lacked in quantity. There was no rubbish
here at all. The little galleries were simply and
most artistically decorated with a view to the
effective display of the various exhibits ; and, con-
sidering the newness of the Society and the short
time at its disposal, it may be considered that all that
could be done had been done most satisfactorily.
It was a very happy idea to enlist the co-operation of
Germany's three greatest artists. Menzel was repre-
sented by several studies and by a wonderful sketch
in oils of an old man in the Rembrandt style;
Bocklin sent several exhibits, includ-
ing one of his early landscapes, a new
version of the Centaur carrying off a
Woman, a deeply impressive work
entitled Herbststimmung, and some
lovely studies. Leibl, too, was admir-
ably represented. In the middle of
the second gallery hung his notable
picture, Bauernpolitiker, while nume-
rous studies, portraits, &c, gave a
splendid idea of his genius, and enabled
the public to realise his greatness.
STOCKHOLM.—The artistic world of
Sweden is divided into two distinct
parties, one of which energetically
claims the leadership in modern art.
As early as 1880 there was a rupture
between the old school, represented, or rather pro-
tected, by the Academy, and some younger painters,
who, on the basis of the new art schools of France,
wished to introduce new ideas and methods into the
art of their native country. The result in regard to
the organisation of those different parties is that two
societies have developed side by side in Sweden,
the one being "The Society of Swedish Artists,"
the other "The Brotherhood of Artists." The
first named principally embraces the members of
the Academy, the latter are " The Opponents,"
among whom the love of personal ideas and methods
rules supreme.
The exhibitions of this year have proved that in
neither of these societies alone can one get a full
appreciation of what aesthetic possibilities the North
holds, for which reason it is much to be regretted
Max Liebermann, the well-known
Berlin artist, and one of the mainstays
of the exhibition, sent his charming
picture Waisenmddchen in Amsterdam,
together with some newer work of
great interest, and other notable
Berlin exhibitors were Leistikow,
Schultze - Naumburg, and Feldmann.
Munich was worthily represented by
Dill, Habermann, Stuck, and Ziigel;
Frankfurt by Triibner and Thoma;
Worpswede by Mackensen, Moder-
sohn and C. Vinnen ; while Volkmann
and Kalckreuth worthily represented
Carlsruhe,
G, G. PORTRAIT BY PROFESSOR KRONBERG
141