Studio: international art — 18.1900

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JVilhelm Leibl

as well as religious, the Japanese aristocracy de- and its capacity for demonstrating the truth with-

serve credit and gratitude for so carefully cherish- out faltering. Indeed, one might almost reproach

ingoneof their most integral and unique possessions the great Masters of German art —even Diirer and

—the choral religious play. Holbein, if there were any one courageous enough Edwards. to do so—with the fact that they directed their efforts
solely to the representation of strict reality. But

__. TILHFI M LEIBL BY wnat ma^e their period so grand and imposing

% /% / gfqp'q gronau was this : the great Masters found means whereby

\ / \ / 1 to express just that which they meant to express.

\i \f Art, like the sea, has its The conditions which brought about a complete

t t periods of ebb and flow, change in aesthetic ideas in Germany were very

Surely, if perhaps not with absolute regularity, this peculiar. The theory of art generally inculcated

phenomenon repeats itself: the development of a was an ideal conception of things, represented by

strong naturalistic movement, which in due course classic work ; and then for a long period prejudice

dies quite away, while the new-found treasures of vetoed art of all sorts. When this attitude was

genuine observation, brought in by the flood, abandoned a fresh start was made, but not from

remain behind. In other words, the impetuosity that source of all true art—Nature herself. Artists

of individual genius is followed by an exhibition wanted to be " German " and " Christian," and

of the shallowness of superficiality and pretension. began to be enthusiastic over primitive Italian and

Naturalism is inborn in the German. That German art, proceeding from one imitation to

which made our art great in the past was, in the another. The reality remained, though changed in

first place, its wonderful faithfulness of observation, form.


(By permission of S. Seeger, Esq.)

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