DOI Heft:
No. 81 (December, 1899)
DOI Artikel:Studio-talk
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.19783#0231
Studio-Talk
remind one of Whistler, yet they are not really like
Whistler's harmonies. Is it not strange that this
artist—whose strong personality is best hinted at
only by a confused reference to two other great
subjective painters—should have succumbed to
foreign influence in the end ? Toorop's latest de-
corative designs speak Vandevelde almost in every
line; and as for his recent paintings, nobody could
possibly tell them apart from the productions of
Luce, Signac, and other pointillistes of that class.
At Arnold's galleries two Dresden artists have
shown small collections of their recent work, Robert
Sterl, known to the readers of The Studio by a
lithographic supplement, and J. V. Cissarz. Sterl
has been rather a quiet and steady artist in these
recent times of sensations and change. He has
never entered into any of the " crazes," the poster,
the post-card, decorative designing, &c, which have
unsettled many minds. He has succeeded very
well in portrait-painting, and is perhaps best known
in this line of work. Also, like Strang, he loves
"to do poor folk," which happens to mean with
him the labourers in the quarries along the Elbe.
He likes to pick out sturdy, brawny fellows among
them, and he has an eye for the picturesque har-
monies that present themselves to any one watching
these sons of the soil. Sterl's best efforts, how-
ever, are his landscapes. For several summers he
has spent months studying in Southern Hessia, and
brought back from there rather sombre but finely-
toned evening and twilight landscapes, such as the
one reproduced on this page. By way of variety
this exhibition includes also a sketch of quite a dif-
ferent nature—a rider at the skirt of the woods
bathed in the glow of the setting sun.
H. W. S.
" evening"
206
by robert sterl
remind one of Whistler, yet they are not really like
Whistler's harmonies. Is it not strange that this
artist—whose strong personality is best hinted at
only by a confused reference to two other great
subjective painters—should have succumbed to
foreign influence in the end ? Toorop's latest de-
corative designs speak Vandevelde almost in every
line; and as for his recent paintings, nobody could
possibly tell them apart from the productions of
Luce, Signac, and other pointillistes of that class.
At Arnold's galleries two Dresden artists have
shown small collections of their recent work, Robert
Sterl, known to the readers of The Studio by a
lithographic supplement, and J. V. Cissarz. Sterl
has been rather a quiet and steady artist in these
recent times of sensations and change. He has
never entered into any of the " crazes," the poster,
the post-card, decorative designing, &c, which have
unsettled many minds. He has succeeded very
well in portrait-painting, and is perhaps best known
in this line of work. Also, like Strang, he loves
"to do poor folk," which happens to mean with
him the labourers in the quarries along the Elbe.
He likes to pick out sturdy, brawny fellows among
them, and he has an eye for the picturesque har-
monies that present themselves to any one watching
these sons of the soil. Sterl's best efforts, how-
ever, are his landscapes. For several summers he
has spent months studying in Southern Hessia, and
brought back from there rather sombre but finely-
toned evening and twilight landscapes, such as the
one reproduced on this page. By way of variety
this exhibition includes also a sketch of quite a dif-
ferent nature—a rider at the skirt of the woods
bathed in the glow of the setting sun.
H. W. S.
" evening"
206
by robert sterl