Studio: international art (23.1901)

Studio-Talk

successful in emulating their master's rendering of
clear sunlight as it plays upon the bodies of
animals, whether they are in repose or in motion,
and they know how to blend them and their
surroundings into one harmonious whole, with
absolute truth to the actual effect before them.
Eugen Wolff has also made most rapid progress.
Two years ago his landscapes, with their hard crude
colouring and stiff ungraceful outlines, left much to
be desired, whilst now, though they have lost none
of their freshness or force, his peaceful evening
scenes, his old courtyards painted in the tender
twilight hour, his winter mornings in the lonely
forest, are full of poetic feeling.

endeavoured to emulate his simplicity of treatment
and breadth of manner, in the truth of atmo-
spheric effect and sense of space characteristic
of his interiors; whilst Lichtenberger has been
more influenced by his colouring.

There is no lack of powerful drawings in this
characteristic exhibition, and as a noteworthy
example may be mentioned a work by a young
painter, Attilio Sacchetto, a simple street scene, in
which, however, he has dealt successfully with a
very difficult problem of perspective. Angelo
Jank exhibited a whole series of coloured drawings,
not unlike those he showed in previous years, most

Very different from the
style of work produced by
the pupils of HeinrichZuegel
is that of A. Thomann,
whose name we met with
for the first time at this
exhibition. He loves to
paint animals in quiet,
neutral light. A few white
or mottled cattle on a
mountain pasture, beneath
a clouded sky or in the
subdued glow of sunset, are
his favourite subjects. Two
such canvases were shown
at the exhibition under
notice, both quiet in tone
and feeling but powerful
for all that, and with no
flaw in their technique. His
water-colours, which are
almost without opaque
colours, painted broadly and
simply, are full of spirit and
feeling.

A few new names also
appear amongst the painters
of figure subjects and in-
teriors in connection with
works full of power and
promise. We can only men
tion here Ernst Stern and
H. R. Lichtenberger, who,
without being actually his
pupils, have learnt much
from Slevogt, one of the
most gifted of the younger

Munich artists. Stern has "near rothenhurg" from a drawing by angelo jank

54